The

Encyclopedia of Stage Illusions

COVERING DATA ON OVER 155 ILLUSIONS

ILLUSTRATED

WITH APPROXIMATELY 400 DRAWINGS, BUILDING PLANS, CONSTRUCTION

SKETCHES AND WORKSHOP DIAGRAMS

COPYRIGHTED 1962 BY BURLING "VOLTA" HULL

ALL RIGHTS STRICTLY RESERVED, INCLUDING TRANSLATION INTO

FOREIGN LANGUAGES. NO PART OF CONTENTS MAY BE USED
WITHOUT WRITTEN CONSENT OF THE PUBLISHER OR AUTHOR

This volume comprises the 51st Professional Textbook of the author

on the techniques of stage arts, showmanship and stagecraft.

Published by the Author, Burling V. Hull, DeLand, Florida

 ^AMAZIA GROW ILLUSION (144) I GIRL IN HAMMOCK ILL. (69) SAWING «ILLUSIONS METHOD
[ARABIAN TENT MYSTERY (153) I GIRL IN THE DRUM (72) I SAWING WOMAN ILL. (THAYER) (Io..
I ART ILLUSIA NOVELTY (28) GIRL IN A PUMPKIN (101) ISAWING "PRESENTATIONS" (168)
ARTIST'S DREAM ILLUSION (67) GIRL WITHOUT A MIDDLE (115) STAGE ILLUSIONS OF TODAY(3)
ASRAH ILLUSION (THAYER) (85) | "GALATEA" OR GHOST SHOW (135) "SPOOK HOUSE" ILLUSION (71)
APPEARING PIANO PARLOR (128) GIRL HEAD IN FISHBOWL (165) •SUPER-SPIRIT PAINTINGS (HQ
BUZZ SAW ILLUSION (73) GHOST SHOW ILLUSION (135) (SPIRIT PAINTING "PATTER" (H3)
BRIDAL CHAMBER ILLUSION (128) GIANT PRODUCTION CAB (7) SIDE SHOW "ELECTRA" ACT (119)
BLACK ART SHOW ILLUSION (129) I GLASS LINED TRUNK NEW (33) SWITCH OF PERFORMER ILL. (119)
BOXES OF BUDDHA ILL. (131) "HAUNTED HOUSE" ILL. (17) SUPER-SIZE ILLUSIONS (124)
BANKOK BUNGALO (THURSTON) ( 14) HULL'S SECOND CABINET (38) SEDAN CHAIR ILLUSION (125)
BUILDING STAGE ILLUSIONS (4) HULL'S PORTO CABINET (39) SENSATIONAL STAGE ILL. (10)
I BOUDOIR OF DANCE GIRL (148) HARBIN'S SAW VERSION (60) (A rear of page 10)
I CANES THROUGH GIRL (62) HINDU ROPE MYSTERY (68) ■SPIKES THRU WRISTS DATA (128)
CANVAS BOX (THAYER) (86) I IMPROVED "I'LL BE" (32) "SPOOKY" REINCARNATION (137)
CROSS ESCAPE ILLUSION (89) I IMPROVES SEE THRU STEP (46) SMALL SHADOW ILLUSION (163)
(CALIPH CUTTER ILLUSION (127) | JACK O'LANTERN GIRL (101) SPIKES ILLUSION DATA (134)
COSTUME TRUNK IMPROVED (160) "JAM BOX" ILLUSION (154) "SHOT FROM A CANNON" (151)
"CANDY BOX" PRODUCTION (153) I KING TUT MYSTERY (66) I SWORD CABINET LATEST (36)
CONTINUOUS TV PRODUCTION (153) KING TUT'S CHARIOT (73) TEA CHEST ILLUSION (166)
COMEDY SURPRISE ILLUSIONS (B) KING FELTON ROUTINE (84) TORTURETTE ILLUSION (126)
(rear side page II) I LIGHT BULB CABINET (68) TO PROTECT TRICK METHOD (158)
COMPREHENSIVE COVERAGE ILLUSIONS I| LATTICE SCREEN ILLUSION (26) (TEMPLE OF BUDDAH ILL.
SCREEN ILLUSION (44)
(page I) LION'S BRIDE ILLUSION (125) TWIN CHESTS MYSTERY (61)
CREDIT WHERE DUE (D) rear (13) I LIGHT BULBS THRU GIRL (62) i TRANSPOSITION BOXES (22)
| "DIZZY LIMIT" ILLUSIONS (69) I MURDER IN PHONE BOOTH (92) »THREE KINGS & QUEEN (63)
I DON ROSE DOLL HOUSE (54) MC GILL GIANT TV ILL. (H5) I TUB OF DIOGENES ILL. (8)
DOUBLE BOXES (DAVENPORT) (70) MAGICIAN, GHOST , GIRL (121) THURSTON SCREEN COMEDY (19)
• DEMON OF DOOM STOCKS (87) MERRY WIDOW ILLUSION (10) I TRANSPOSITION CABINET ( 9 )
I DISSAPEARING HEAD BOX (116) MARVEL OPENING CABINET (13) THREE UNIVERSAL CABINETS (37)
DOCTOR 8. NURSE ILLUSION(119) MENE TEKEL MYSTERY ACT (34) THE "DEVIL" ILLUSION (122)
DAVENPORT SWORD BOX (123) MORRIT CAGE ILLUSION (46) TORTURE CHAMBER (THAYER) (126)
DATA ON DEMON OF DOOM (123) MODERN CABINET ILLUSION (13) VICTORY GIRL PRODUCTION (51)
DISEMBODIED PRINCESS (164) j NEW NEST BOX ILLUSION (12) "VAMPIRE" ILL. (THURSTON) (II)
ENGLISH SAW VERSION (60) NITE CLUB GIRL VANISH (48) VOLTA'S LIGHTNING CABINET (40)
| EYGPTIAN MUMMY ILLUSION (56) /NEW BURNING ALIVE (77) VISIBLE PORTABLE SAWING (59)'
ELECTROCUTION ILLUSION (23) NEW SWORD CABINET DATA (126) VOLTA'S SHOCK HAMMOCK (40)
EAST INDIA SACK MYSTERY (84) I ORIENTAL MYSTERY HOUSE (115) VOLTA'S GLASS CASE ILL. (79)
ETHERIAL MAGIC CREDITS (5) PUBLICITY STAGE ILLUSIONS(II) VOLTA'S GROW HI-HAT (80)
I EYGPTIAN TALK'G VASE (102) J PHANTASTIC DOORWAY ILL. (127) iVOLTA'S "SHOCK" BATHTUB (81)
| ELECTRA 20,000 VOLT ACT (H6)
I PRINCESS OF BAKHTEN (132) VOLTA'S "SHOCK" CLIMAX (126)
EXTRA TWIN CHESTS DATA (142) PORTABLE HOUSE ILLUSION (154) • VANISHING LADY & CHAIR (139)
EXTRA ADDED ILLUSIONS (142) I PRINCESS OF THEBES (98) VOLTA'S ATOMIZED GIRL (140)
EXECUTIONER'S DREAM (72) PALANQUIN ILLUSION (154) VANISH'G TRUNK & LADY (146)
FRAME OF LIFE ILLUSION (90) PRINCESS WITHOUT MIDDLE (164) VOLTA "SAWING" VIA RIBBON (150)
FARMER 8. THE WITCH (120) I "REINCARNATION"(THAYER) (105) WALKING THRU BRICK WALL (18)
I FLASH APPEARANCE ILL. (21) RICHIARDI CHAIR 8. LADY (139) WALK THRU STEEL PLATE (52)
( FIREPLACE ILLUSION (134) SPIDER GIRL ILLUSION (25) WALK THRU GLASS PLATE (52)
"FAUST" CROSS ILLUSION (152) SUITCASE SHOT'G ILLUSION(4I) WHO 8. WHICH ILL. NO. 1 (63)
I FLAG 8. PEDESTAL ILLUSION (29) SAWING ILLUSION METHODS (57) •WHO & WHICH ILL. NO.2. (64)
FAKE "COPYRIGHT" CLAIMS (156) SAWING ILLUSION NO.I (57)
(FIRE 8. WATER ILLUSION (48) "WOMAN IN (GLASS) CASE" (78)
SAWING ILLUSION NO.2 (57) (WALK THRU RIBBON NO.3 (149)
FILING LEGAL COPYRIGHT (157) SAWING ILLUSION NO.3 (58) WALKING FROM SHADOW ILL. (161)
| FLAT MODEL HEAD CHEST (51)
SAWING ILLUSION NO.4. (58) | "WELL 1‘LL BE D------! " (31)
 INDEX OF CONTENTS

Many Illusions have become known under two or three or more titles due to the habit
of performers re-titling their Illusions differently to make them sound more mysterious and
mystical to their audiences. The Palanquin is known as the Jam Box and the Portable House.
Another version of the Palanquin, made in the form of a chariot, is called King Tuts Chariot.
Magic dealers have taken unto themselves the same privileges and renamed many
Illusions in an effort to make them sound more attractive from the advertising view-point.
Thus we have the Girl in the Hammock renamed the Dizzy Limit . Also a somewhat different
version for "Spook" effect called Volta's Shock Girl to Skeleton—Costume Trunk or Trunk of
All Nations—Jack O'Lantern Girl or Girl in the Pumpkin—Disembodied Princess or Girl
without a Middle or Princess Without a Middle.
There is also a Girl Without a Middle of an entirely different method, designed by Larson,
using Black Art Principles. The Tub of Diogenes or Second Advent of Rip-Van-Winkle—
The Vampire or Creo or Creation of a Girl or Mechanical Doll Illusion are other versions.
Aerial Suspension, a somewhat different version using two brooms, is called the Broom Illusion
or sometimes the Aerial Broom Suspension. Actually, the Aerial Suspension was originally a
very finemechanicallygeared self-raising suspension that had nothing to do with brooms. The
Torturette or Devils Torture Chamber—the Spikes Through Neck and Wrist or Torture Neckand
Wrist Stocks or Demon of Doom are examples that can be added to this list. Watch out for
these multi-titled Illusions.
For the sake of assisting the reader to locate a desired Illusion under the name by which
he happens to know it, we have included both titles in some cases, accompanied by the page
number on which you will find the Illusion explained under its correct or most used title even
if it is also known by .another title. (THE NUMBER FOLLOWING THE TITLE INDICATES PAGE
NUMBER) ILLUSTRATIONS ARE ON SEPARATE SHEETS SO THEY CAN BE MOVED FROM
PAGE TO PAGE TO COMPARE WITH DETAILS GIVEN IN TEXT, SPECIFICATIONS, ETC.,
WHICH RUN THROUGH SEVERAL PAGES AT TIMES OR TO PERMIT READER PLANNING TO
BUILD ONE OF THE ILLUSIONS TO BRING THE SEPARATE SHEETS TO A PHOTOSTAT CON-
CERN TO HAVE A DOUBLE SIZE ENLARGEMENT MADE FOR CONVENIENCE IN
CONSTRUCTING EACH PART.
 -A-~t -
"ABSOLUTELY S E N S A T I 0 N A L" ILLUSIONS

It is a common failing for the amateur or partly amateur magician to

write to me (or to dealers) asking for "Something absolutely SENSATIONAL"
in magic or mentalism material. We generally discourage such inquiries
because it is the "Showmanship" in the "Presentation" that builds any-
thing "sensational" into a magic or mentalism feat.
However, there are a very few Illusions that do produce such a startling
or sensational effect on spectators, or which lend themselves particularly
to this purpose.
Two of these are the Volta "Shocker” version of the Girl in Hammock
Vanish. Instead of the girl simply vanishing mysteriously from a net
enclosure, the girl at moment of vanish appears to change into a Skelton
and parts of the skeleton framework (rib cage and leg bones) are seen
to be sort of caught and hanging in the mesh of the giant net or hammock --
while the rest of the bones and the SKULL come rolling down an incline
under the Illusion toward footlights. There the Skull is seen to take
on a luminous, greenish brilliance - and suddenly leaps over footlights
into audience! For Spooker Shows we dimmed the lights to almost nothing
and the screams from audience were all that could be dreamed of by the
most ambitious Spook Show Impressario !
The VOLTA SHOCKER PRESENTATION "Girl in Bath” Illusion is another
Illusion with a Shock "Surprise” Climax. (See details elsewhere.)
The Volta "Atomized Bathing Beauty" Mystery is simply another version of
the Mirror-Type Sword Cabinet Illusion - with extra surprise and comedy
features. The girl's bathing suit accidentally pulled off, nude shadow
on front shade, and similar ideas, like the Atom Light, the finale
placard, etc. The Boudoir of a Dancing Girl is another Surprise Vanish
of impact.
The Girl Without a Middle or Disembodied Princess is close to these
in surprise because of the seeming impossibility.

The "Death Cell Electrocution Mystery" with man strapped in an apparent

Electric Chair, switch thrown, a white flash and shadow of man thrown
on white pull-down shade - the shade immediately whipping up and man
vanished, is one of the best of this type. But it seems badly over-
looked today. It was always the hit of Madame Herrmann's Act and it
is inexpensive to build. It is likely that since my mention of it here,
it may be seen in magic shows shortly. It has great Sensational Adverti-
sing Value as well.

EXTRA PURPOSE S OF STAGE I L L U S IONS

There are certain "Values” in some illusions that make them of specific
value aside from the mystery or ©agical effect contained.
 ADVERTISING value: To draw attention to the coming show is one of these.
It is found in the VISIBLE Version of the Harbin — Abbott version Port-
able Sawing Illusion. Stage a photo before show with the president or
his wife or daughter or a local Beauty Contest Winner in the device
magician ready to saw person in two. Headlines to read "MAGICIAN WILL
SAW PRESIDENT SO-AND-SO OF THE LIONS CLUB IN TWO" on stage of the so-
and-so auditorium on Saturday, etd. et." Same thing with the P. & L.
Stage Version of the "Shooting Marked Bullet Through Girl" which lends
itself to staging a newspaper photo well in advance of show, soon as the
booking is set. Use the same "personalities" shown as suggested for the
Visible Sawing Illusion.

On stage- on night of show - the announcement is made, that due to

advice of the doctor of the president's wife, she will not appear in
Illusion. "But I have another very charming lovely stand-in. HOW
WOULD YOU LIKE TO HAVE THIS YOUNG LADY?" Bring her forward quickly .
from backstage to footlights. "How would you like to have her??" Quite
often spectators of a male crowd will call out "We’ll take her!! . Send
her right down here!"
Advertising values are found in pictures of the Levitation if given
to newspapers before show. Escape pictures of performer well manacled
or in Substitution Trunk or Straight Jacket or Flaming Straight Jacket,
are tops also.
COMEDY SIU/R/PiR ISE 1 L L U 'S I/O N S

Illusions with comedy elements, or a sort of ’’Comedy of Errors” opera-

tion where Illusion seems to have gone wrong - but works out alright in
the end, are very good to lighten and "brighten” the program of your
show«.
P U B L I C I T Y ILLUSIONS

Strictly "Advertising Illusions", like the old Houdini stunt of the

I Vanishing Elephant, permitted the theatre to show a drawing of an
! elephant apparently vanishing over the head of Houdini. The Thurston
or Blackstone "Vanish of a Horse" or "Horse and Rider" or the "Girl
Into a Tiger", were Illusions that had little merit in respect to myste-
ry, but permitted much build-up in publicity. • The Illusions did not- im-
press much but the rest of the shows in each case were tops, so :the pub-
lic did not care.
Spook Shows often use Shock type Illusions, Burning Girl Alive, etc.
for.their sensational advertising value to attract attention. One of
these was the Advertised "Materialization of Jimmy Dean and Marilyn
Monroe at each show." Actually, it was a version of the Spirit Paint-
ings which "materialized" on a blank canvas or parchment a colored
"spirit" picture of the personalities. A touch of the risque favored
by. some Spook Show boy’s lead them to use the colored posters of the
early Monroe calender pictures which were a bit nude or bare-bosomed,
 . -C- -F-
but faded out quickly after reaching visible "materialized" state.
For Spookers I have always wondered why they did not use the standard
Gorrila or Monster Character used in these shows in some Illusion -
Like Buzz Saw, Visible Sawing, Burning Alive, or as the final character
to replace the vanished girl in-the Boudoir of Dancing Girl or the
Electrocution Chair. By pretending to struggle with the chloroform
the Gorrila or "Monster” and then lead him into the Buzz Saw pr Visible
Sawing Illusion or Shredder, or SpikeS through wrist Illusion, or other
device, it would lend LOGIC to the torture feature. A giant hypodermic
needle (sold in some joke stores) could be used on gorrila or monster.
Performer trailing secretly behind gorrila about stage and catching him
finally while bending over. Gorrila then staggering about stage, final-
ly led half asleep into the Buzz Saw, strapped in place, etc. etc.

COMEDY STAGE ILLUSIONS; With "Startling" or "Humorous Climax" or

"Comedy-of Errors'* procedure or operation of Illusion.
 CREDIT WHERE DUE
A most interesting subject, isn't it???- Comic, but sad; funny, yet
pathetic! For years, travelling about U. S. A., performing on my
show tours, in 200 cities here and abroad, I would drop in to visit
with the local magic dealers. Invariably one of them would button-
hole me to listen to his complaints about a rival dealer who had
"lifted” or stolen or copied his original products.
I would say to Tom, Dick, or Harry, as the case might be, "Let's not
get excited about this fantastic maze of so-called "ETHICS" in the
"Magic Dealer Racket"! Even if there is a 'theory* that such a thing
exists!
"Look at these catalogs of fellow Magic Dealers-- and see how EVERY
ONE OF THEM has copied or "stolen” and CATALOGED anywhere from a
dozen to a hundred of the 141 Burling Hull Original Creations in
11
Magic! Not to mention also my entire 66 Hull ’Art Rubber Creations! ’
Those Hull Rubber SKULLS, DOVES, FISH, LOAVES OF BREADS, VEGETABLES,
FRUITS, WATERMELONS, CANTELOUPES, PINEAPPLES — all 66 of them
COPIED BADLY today!
"Look at the "Bootlegged" copies IN ALL CATALOGS, of my ’SVENGALI
WONDER', Self-Forcing Desk, the 'MENE TEKEL' Pack, the 'Hull SOFT
WHITE ROPE' for Rope Tricks, the Hull COMEDY-LITE, the Dunninger-
Hull Miracle Floating Light, the first 'Rough & Smooth Principle'
packs ('Devils Deck' and 'Mindreaders Pack' advertised in 1921
'SPHINX' Magicians Magazine) and copies of the Hull FIRST 'Radio
Body Units' for 'Mental Telepathy’ and Mindreader's uses (see Double
Page Ads, 1921 'SPHINX').
"Now look in your own catalog. See if YOU have the Bootlegger's
make of my COPYRIGHTED 'SVENGALI* and 'MENE TEKEL' Decks, and other
Hull creations. ~
"The Hull COMEDY-LITE - copied and manufactured by the very PRESIDENT
of 'THE MAGIC DEALERS ASSN.,* (INC.) to the tune of hundreds of
thousands annually! The Bootleggers makes of them are being right
now WHOLESALED to other 'MDA Dealers' — BY THE VERY MAN WHO 'SPAWNED'
THE IDEA OF THE $10 a YEAR DEALER'S CLUB — 'THE MAGIC DEALERS ASSN.,’
(INC.). All, of these of course, WITHOUT A CENT OF ROYALTY EVER PAID
TO ME! Or even a simple line of ’CREDIT’ to THE INVENTOR - which
would not cost him one cent! So it is HARD for me to get excited
over your ONE trick, my friend."
The dealer would think a minute and mentally check how many items HIS
catalog contained of outright copies of the Hull, and other inventors'
creations. Then he would end up with a wholesome laugh about the en-
tire idea of any "Ethics" in the Magic Dealer Racket! It saved a lot
of dealers getting ulcers over their "rights" on magic products! The
dealer would usually end up with, "Say, Burling, if YOU ever decided
that 'Turn about is fair play' or 'What is sauce for the goose, is
sauce for the gander', what a time you could have!!!
I almost always added, "Perhaps I will some day, boy! Perhaps I will
do just that! It would make a nice Magic Social Security, should I
retire. But 141 items, plus 66 Hull Art Rubber Creations is a LOT to
try to make up for." .
Now, don't misunderstand me. There are some fine, Ethical Dealers in
the trade, in my opinion. Chaps like Tannen,Holden's, Ranter's,
Dethlefson and others who steadfastly bought my original make of my
products instead of the crook's cheap copies. No doubt there are a
number of others also in the same class. But as a general rule: YOU
should each decide ON YOUR OWN OPINION and YOUR OWN EXPERIENCE - if
you have had YOUR OWN INVENTIONS COPIED, lifted, or outright stolen!'
One dealer even came up with a cute idea of collection $10 — each
from various dealers, on the fantastic claim that he would instill a
code of "Ethics" in the "Racket". And could "sell" them a '
"Prestige" for the payment of the $10 fee!!!
Then the trouble started! For U. F. Grant filed charges that a Fellow
Member of the little $10 club had copied his $5.00 "Giant Cards From
Packet" - and was selling the copy for $3.00 retail, $1.80 wholesale!!
Jack Charm in filed charges that a fellow MDA dealer was queering him
with wholesalers so he could not get any goods. Joe Berg (once a
President of MDA) charged another dealer with copying his Half Dollar
trick and various card tricks he was advertising! Ed Mellon charged
MDA dealer Nelson was copying Mellon’s "Mental Impression" trick
introducing the use of White Carbon Paper! Burling Hull filed
charges against Nelson for trying to discredit "MDA" Member Hull’s
ads by writing in the "Linking Ring" that Television Star Hull had
never played a professional show in 37 years! This example of be-
smirching the IBM Brotherhood’s magazine PUBLISHED TO PROMOTE
"BROTHERHOOD” among magicians and IBM "Brothers", and PERVERTING IT
to use as a TOOL OF INJURY to a "Brother" IBM Member - (Who was
also a member at the time of the little $10 - a year "dealers club")
is the subject of consideration of the Grievance Committee of the
IBM Brotherhood.

■■ 1
 THE FLOYD THAYER LINE OF ILLUSIONS

| For the sake of completeness in coverage of stage illusion a

1 number of illustrations from the former and now obsolete cat-
J alog of Floyd Thayer are included herewith on the next few
< pages. The reader may find it helpful to read over the de-
$ scriptions of effect of the Illusions in connection with the ex-
planatory data, plans, etc., for certain of the Illusions con-
tained in this collection.

SOME OF THE OLD BLUE PRINTS WERE VERY

DIFFICULT TO REPRODUCE SOME BEING POOR-
LY AND LIGHTLY PRINTED FROM THE TRACINGS.
THE BUSINESS PASSED THROUGH THREE DIFFER-
ENT DEALERS HANDS, AFTER MR. FLOYD THAYER
RETIRED SOME YEARS BACK, AND THE QUALITY
OF Tl-fe BLUE PRINTS WAS NOT KEPT UP TO THE OLD STANDARDS. ALSO THE
FACT THAT THE TRACINGS FROM WHICH THE BLUE PRINTS WERE MADE HAVE NO
DOUBT SUFFERED FROM OVER 30 YEARS OF USE AND AGING, IN THE SHOPS OF
THREE DIFFERENT MAGIC DEALERS. Note the offer below. --

A SERVICE TO READERS OF THIS VOLUME

As my main object in this, as in the case of all of the previous 51 volumes of the
Burling Hull Series of Professional 'Textbooks and Special Brochures which I have had
the pleasure of contributing to our Brother Magicians of the "Magical Fraternity",, has
been to be of Service to fellow performers of magic--! offer the following help to any
readers of this volume:

If the reader is interested in constructing any Stage Illusion or a variation there-

of, and needs further details in a larger form than the necessarily reduced size repro-
duction, which was made necessary so that the plans could be fitted into the page size .
of this volume--! will be glad to make for the reader an enlarged Photostat reproduction
— made from the original Blue Print in my personal collection. This will be a non-pro-
fit service -- the reader to pay only the cost of the fee that the photostat concern charges
me, plus typists time for any special written information asked for, and the postage
and cost of the photo "Photo Mailer" used to mail it to the reader. I estimate that this
should not cost me more than $2. 50 for reproductions of same size as the original Blue>
Print where the original is of medium size. In case of some of the very large size
Hull or Thayer or other plans, the fee may be about $3. 50 (estimated at PRESENT
PRICES currently quoted to me—and providing prices in the trade do not increase). As
this is a non-profit offer, and is not contained in any part of the advertising for sale of
this volume--! reserve the right to discontinue this offer at any time, should it become
necessary for reasons of health, road show tours of long duration, lecture tours for Magic
Clubs and Conventions. Or other reasons which may make it necessary or advisable to
discontinue this voluntary offer of service.

THE THAYER CATALOG OF STAGE ILLUSIONS

•I
At the last moment I have decided to include a number of reproductions from the
Stage Illusions: described and illustrated in the Floyd Thayer catalog as formerly pub-
lished and now out of print. It is now considered a rare "collector's item" and I trust
that it will be of considerable interest to my readers as an addition to their library as
concerns the material covered. Many of the Illusions though considered too heavy and
obsolete: by our modern day standards, due to their size, weight and cumbersome
character (requiring a large number of highly trained assistants to move and operate
them) , but the plans are fine examples of careful detailed draftsman's tracings and thus
worthy of preservation in a permanent form - in this low cost volume.

Mr. Floyd Thayer, who built up a large retail magic business in California,
first in Pasadena and later in Los Angeles, was for many years my West Coast repre-
sentative and dealer for my inventions in magic and for the Burling Hull line of Profes- ;
sional Textbooks on our art.

Floyd originally went to the West, Coast on advice of doctors to benefit his health.
It was thought that he had limited years to look forward to. But he prospered in health
and business and outlived many of his friends and a number of younger magic dealers
then in business.

Floyd started a little shop to make wood souvenirs of the attractive redwood and ,
other woods of California, and later began to make up very attractive magic tricks in
beautifully polished woods. From there he graduated into getting a lot of orders from
magiciarife» who, while playing the West Coast, engaged him to make up for them, var-
ious "box tricks" and Stage Illusion Cabinets. While not a magician originally, he soon
gained an extensive knowledge of how to turn out a fine line of wooden magical apparatus.
Eventually he added a line of apparatus using part or all metal materials.

He had his helpers make careful plans of every trick or Stage Illusion he made
up for magicians, so that he could duplicate the item for other customers wanting the
same Illusion. He finally ended up with a nice line of plans for building Stage Illusions.
When Floyd saw the interest I had created with my idea, the first line of 55 "Build It
Yourself" plans for constructing Stage Illusions, he decided a few years later to put
out his own line of drawings. •;

In view of the fact that he wanted to make up a number of my original inventions

in his own shop (to save the cost and delay of 3,000 mile transportation) such products
as my "SVENGALI" Self-Forcing Deck, Rough & Smooth Principle Decks, "Suit-case
Model SHOOTING BULLET THRU GIRL", Hull Lightweight Wood Rim Silicate Slates
for Mental Magic, etc., etc., we came to a mutually satisfactory atrangement. . We did
considerable nice business together for over 30 years. Bill Larsen, Sr. took over the
business on the retirement of Floyd, and we continued the same arrangement. I raised
no objection: to his shop making up various creations of mine and he supplied me with
blue prints of the Thayer plans at an attractive discount that permitted me to both whole-
sale them to my dealers, as well as sell them to retail buyers.

Unfortunately many of the Thayer line of plans dealt with the very large, heavy,
and cumbersome Stage Illusions which were only practical in those days, when there were
numerous large full evening magic shows in operation,: playing legitimate theatres and
vaudeville houses.

Today most magic shows are very limited as to size, weight and number of per-
formers and assistants carried.

However, I have for the sake of completeness, included a large number of the
Thayer plans fqr the larger type Stage Illusions--because the ingenious showman may
be able to cleverly convert many of the principles or methods employed and apply them
to stage illusions of his own making, and employ the "effects" in his shows. Many of
the drawings were very good examples of the mechanical draftsman's art. For that
alone they will be valued by the magical enthusiast for many of the blue prints are be-
coming quite rare and hard to get.
 MENETEKEL MYSTERY 'ACT
Tho Ghost Show Illusion On a skeleton ossol Is hung a plain board to whloh
shoots of paper aro tacked. Balls dipped In Ink aro placed
<ni the lodge at bottom and on command from performer rise

and write answers to questions asked by audience. Papon

may be passed oul and questions written by audience aro
visibly written In full view by title modern "Writing on
th. wait" A tremendous sensation can be. worked up*
Thi» illusion consists of a cab- _ with thia principle by good ahownianalilp.
inct, or room-like enclosure, in full
light illumination. Any person or
THE "QUEEN OF CARDS" ILLUSION
object placed in the direct center Tho MOST BEAUTIFUL and NOVEL ILLUSION of
the day. A monster "Pack" of playing cards each C foot
THE DEMON DOUBLE BOX ILLUSION. of cabinet gradually and visibly
'vanishes, or changes into some-
MARVEL "OPENING” CABINET (2 OR 3 thing altogether different.
The effect of a statue turning to
PEDONS) life, or causing a spectator to
A wonderfully hno'HluXlaA, for ‘opening* the perform-
ance. Cabinet Is standing In center of stage with curtain
change into a grinning skeleton,
and vice versa are features that ♦ ♦
open. Curtain Itself draws slowly shut, then Instantly opens
again and performer Is seen standingHierein. Ho stops
oul and turns cabinet completely around showing all sides.
have baffled audiences for a gener-
ation. ♦
He dfaws curtain to. and then open again and his lady.av
slslant steps out—and they begin the performance. The
marvel Is that CABINET IS SO SMALL It la COMPLETE-
NEW METHOD IMPROVED "NEST BOX”
ILLUSION ♦ I
LY PILLED by the body of tho performer when ho appears. Aa ENTIRELY NEW PRINCIPLE for this Illusion
with a similar but superior «ff«ct to tho "TEA CHESTR"
Tho box«» ar« openad out FLAT ON TWO SEPARATE
PLATFORMS. Then folded up into form of boxes without
tops over which paper covered frames aro placed, smaller J,ln * Kla"‘ «»»• (NO MIRRORS OR
thru^ ’s?!^ BT?MPLOyED B,,d c»n rlKbi
? dMh The caM *■ now hauled up Into tho conlor
.of tho stage clear from tho floor and sot rspldly aplnqlny
THURSTON’S SCREEN MYSTERY ILLUSION"
A very Inexpensive and oasy-lo-work Illusion that U one
of tho big hit« of Tbunton'a Show. A Man from audlonco

&o that hl» . rm» touch the »Id«; and thus It aeema nubeHev-
ablo that anyone could be concealed about It MUCH LESS,
TWO PEOPLE. No trap» or back acene or bellowa bot- S7
tom or mirror» or double »idea employed. Work» anywhere,
independeut of aU outalde mean».

box dropped inside larger box. At pistol shot girl pops

SECOND ADVENT OF RIP VAN WINKLE thru p-ipec at Up and sups out. Itoose who know the
former method will appreciate the improvement as mads
Performer mentions the story of BIP VAN WINKLE, clear by the accompanying illustrations. Price according
stating there is a legend that ho Is «till »live and will to nnlsh desired. 1100. to 1135.00.
appear In a certain old barrel from the Catskill Mountains.
Ho has, at greAl expense had the barrel-brought here. He 5
King Tut's Chariot aa«lata performer to tie a auge band in a bag upon a platform
railed several feet from the floor. .A acreen to placed around
V man in bag. Performer induce» man freu audience to put hl*
hand in aleeve of a large red cloak "To prove that there is

z
nothing tn magician»' SLEEVES as commonly supposed",

y.
and then quickly putt tho coat on him Trick proceed» and
— S S® perfoi>ner indulge» In a little by play, telling him that "Any-
IT v thing la likely to happen to him now." with the magic cloak
on him. ekM which is calculated to make him want to take

'Mir
now shows the barrel empty without top or bottom then the cloak off and get back to hi», seat. At this point they
corers the ends with paper sheets a la DRUM HEAD. He
further inserts an electric light thru a hole In lop making 'j hi are interrupted by a voice from the bag on platform crying.
the paper transparent, proving It empty. Suddenly a shadow "Let me out! LET ME OUT! I Man In bag knocks the
screen over tn hla struggles to free himself. Performer
appears before It and breaking tho front paper out crawls ruahc» forward and unties bag WHEN FROM OUT OF THE
a man dressed to represent OLD RIP VAN WINKLE. Very
easy to work and also Inexpensive to build. PRICE >80. [ BAG COMES THE MAN FROM AUDIENCE, who snatch“
hla hat from stage and runs back to orchestra while party
DRAWINGS AND WORKING DETAILS, »1.00. in red cloak throws It off and b »een to be the assistant
who was tied In the bag. Very clever and sensational bit
NEW METHOD GLASS LINED TRUNK of showmanship which always makes a big hit.
ILLUSION Two auistanb enter pulling a handsome two wheeled chariot. The performer approaches
An elegant trunk on raised -
four legs Is shown on all sides and throws the two front curtains of' the chariot <open, then removes the back, which shows
the chariot to be entirely empty, a full view inside and—
t ---- through the chariot
-------------------- -- being
. exposed.
. .
and the top opened and tho The curtains arc closed and when opened the second time, two beautifully gowned girls,
front let down. Three large
sheets of glass aro brought coituraed to fit the occasion, arc revealed inside the chariot.
forward one being placed at
back, ono on bottom, one at DREAM OF THE EXECUTIONER
front and two others at the On the stage stands a gallows. A play takas place—the performer
ends thus lining th«tho trunk is seized by some guards, led up on tho raised gallows scaffold. A
with glass to prevent anyone black cloak is placed over him and tied at waist and ankles and the
LZ____ entering. The front and up noose is then placed around his neck in the regular hangman fashion.
is now closed down and the trunk revolved again. The front Tho guards then leave the stage, etc. The executioner pulls the
_b
___again
______opened ” empty ■'ben
r._.z showing iuside wl nt tho report lever. The trap falls and the trussed-up performer shoots downward
of a pistol a lady visibly appears Inside. | as the audience gasps! The executioner 6res at tho dangling body
—the cloak collapses and falls to the floor a mere bundle of cloth.
THE PERFORMER HAS COMPLETELY VANISHED! The oseca-
tioner whip, off bis robe, and—THERE STANDS THE PERFORM-
ER HIMSELFI. No doubles .• *
 AND SENSATIONAL ESCAPES 5 AND SENSATIONAL ESCAPE«
AND SENSATIONAL ESCAPES 13 THE "HOUDINI" STOCK ESCAPE (156)
LA SENSATION OR VANISHING LADY AND w. •- --
Performer .....»-I«
TRUNK (100) The greatest of all stock escapes, r...- ------ --Is -securely
"WELL I LL BE-------- " A strong finale for concluding a magical performance.
locked in the giant stock (after It — been thoroughly
it has
- ---- -- it i»
examined by committee) with BORROWED LOCKS.
GREATLY IMPROVED (116) A trunk is placed on a bare table and a lady steps in. A
A very clever illusion. A lady stands on a hare un- small cloth just sufficient to cover trunk Is placed over it and
draped table and the performer covers her with a large doth. chains are lowered from the files by means of which trunk
Ho Are» a revolver at her when she comp'eUly disappears la hauled high in tbe air. Performer draws a revolver; when
the doth collapsing. The performer can luu the cloth Into a lady in audience interrupts, crying that abe la just out of
the audience as it DOES NOT CONTAIN ANY FALüE a nervous sanitarium and cannot bear shooting. Performer
FORM, and there is NOTHING TO "GET BID OF" No apologises but insists ho will have to continue. Lady hys-
terically rushes upon the stage to atop him. Performer Brea
and the CLOTH COLLAPSES showing TRUNK HAS VAN-

ABSOLUTELY IMPOSSIBLE for him to withdraw his head

or bands (In all other stocks perforiere must release
bellows mirror, traps or background matching. Es&aly
Entirely hand, to operate same) nevertheless he frees hiiu»elf JN-
sell contained and a very cl»ver mechanism U used which 3TANTLY. We have added a recent improvement to ««•
noi^euter b|N° ouU,de »»»«stance required. Lady dose stock. Il is the Strongest escape of Ha kind and MAY oe
left in TbuU* Lobb, lor UNLIMITED EXAMINATION.
PRICE COMPLETE SlAuOO ISHED—and lady faints into arms of performer who pulls Price ...
SECRET AND BLUE PRINT PLANS (EASY TO CON-
FULL MECHANICAL DETAILED DRAWINGS «2.00 off her cape and veil—and It Is discovered SHE IS THE
U?AsTNOfl °r 0U* NEW ^CHANIo A LADY WHO DISAPPEARED FROM THE TRUNK! I ! She STRUCT. PRICE
smilingly bows to the audience and the sensation can be well
imagined. Worked anywhere as no traps or back scene la BANKOK BUNGALOW of FIND HIM IF YOU
required.
THREE UNIVERSLAL CABINET PRODUCTIONS CAN! (After Thurston) (106)
PRICE. ACCORDING TO FINISH 5iSv* Tv
1150. TO JXC.
1200. Man vanishes from pedestal. Performer stales that he
(118) NO. 100 SECRET. SKETCHES AND WORKING '
bouse about II Inches wide and
has passed inside * little house
WITH BLUE PRINT FOR BUILDING. 12.00.
A New Cabinet Illusion. The bare frame of
• cabinet la wboelod THURSTONS "VAMPIRE" ILLUSION (101)
forward and on II u IMPROVED DOLL ILLUSION.
AT, i fasioned a back and
two aides one at a
A UWof out cooitnicttd In lull »!«» Irni "A B.r, a
Bon* .nd ■ ll»> of Hnlr" <K>plu>(>. On * uuü tUnlü
lima, a roll curtain
I« pulled down in
front and Lumodlau-
ly allowed U ’27'^
10 °>r “P
»hen a lady or gta-
women assistant la
IbUbd to h„, ,p_
pearod therein.
There are three

P1^
differing principles.
These or any ono of
the methods* wUl
work well in connec-
tion with any illu-
sion which you wt»h stand RAISED FROM THE FLOOR so tbst all can see na- r;_w. same la
17 IDCbc* huh To prove it he place» in a cabinet
to produce a vanish- der it. a Doll a constructed from a doll s besd supported on when man immediately appears, Man disappears from cabi-
three sticks, and then dressed up by performer Performer net (cabinet taken all.. apart.—jurtaln* ort. etc) and man
/ ed person or produce
ono in a combination
combs balr. powders face, etc. and then WINDS VP the appears tn audience No K- doubles needed—Very novel
of several effect*. doll. Doll then walks stiffly about stage like a mechanical
PRICE ON APPLICATION
EITHER ONE WITH PLATFORM. ETC >00 EXPLANATORV DRAWINGS AND WORKING 82 00
DRAWINGS TOR ANY ONE SI. ALL THREE FOR *2.

AND SENSATIONAL ESCAPES 23

AND SENSATIONAL ESCAPES U
NEW IMPROVED "ELECTROCUTION" 12 LATEST STAGE ILLUSIONS
ILLUSION (131) GIANT PRODUCTION^CABINET (8 p«r,on,) ERS UNION TO FURNISH THE BRICKS AND BUILD
A thin raised platform supporting an "Electric Chair** THE WALL THEMSELVES.
All you carry is your fr.'ine, bricks secured tn towns
you play Wall built with or without mortar as desired.
Orest for press publicity. Secured a FULL-PAGE write-up
In the New York World Sunday Magaxtne.
PRICE 870.00
FULL SECRET. DIRECTIONS FOR BUILDING AND

ft
WORKING. WITH WORKING DRAWINGS. BLUE
PBINT8 AND BUILDING SPECIFICATIONS (COPY-
i RIGHT) ...

ill THE HAUNTED HOUSE (112)

The most baffling illusion produced
in the last five years A small cabinet
Mmilar to that used for electrocutions, around which is run
a »keleton frame to hand curtains on. Is wheeled forward
Curtaius are rolled down on back and sides making a cur
raised THREE FEET FROM THE
FLOOR, in the fotm of a house, with a
window. IS PROVED TO BE EMPTY
a
tsiu cabinet of it. and an ar.istaut Is strapped in the chair Various characters appear, t or 5 at a
ready for ele»trocution / udience may even be permitted ... or
time, and enact dltlereot scenes, Love
tu ee that he I» secure by coming on stage. Electric wires
are »oiinetled to the cabinet The front curtain is rolled scene — Comedy Sceue — and Anally a
duwu for au nstant. the »witch I» thrown on and there Is a Murder, all this u seen through -THE
---------------
WINDOW 0|. THE HAUNTED
fla.U of Ugbt fr»n within the cablnst. WHICH THROWS a -h.n io C*Mn,t .n„„
when to the tune of another national air .Bo,h.r HOUSE.** BETWEEN EACH SCENE
clear »badow of the nan on the transparent front curtain appropriately costumed appears (Cabinet with CURTAINS this little house Is showu EMPTY, only Lil
fivtantly the front curtain flies up and the man baa disap- S' ""°M “°U°‘ *" I A^n
peared You will greatly admire the clever way in which to have characters appear a;» In and
r e nun >» tinned to di appear No traps, mirrors, etc., are enact their ghcstly antics A truly ghost-
I K ICE S1.-.0. ly effect which with II* COMIC and
DRAWINGS. SlOti WITH EXTRA DRAWINGS FOR DRAMATIC features delights the au-
OUR .MORL ELABORATE METHOD. 00 dience AS NO ILLUSION HAS TOR
YEARS.
NEW FAUST TABLEAU ILLUSION"
loadinj - ai any lime Men ran be ..-a .... . S The construction is *o SIMPLE that any one can build
(DRAMATIC) I «mm, a d.n-rmi national«», a nn*1^?AB^;,!",,,,‘"* it or have it built for VERY LITTLE MONEY. We wlU
Two axaiatanta in white cloaks (the "Imps'") (with »r.0». w.d..u..n can " L™“*U'{ .
supply the secret with BLUE PRINT DRAWING of the
white «owns over them) come forward and draw back cur- " or Untie Sam and • P..t. •• w,.0°'? J'“1"* method as used by Dr Herman at the Fifth Avenue Thea-
tain. In place of Fau>t. a girl d e-»cd aa "Marguerite" is tre. New York City
"’>■•>•" ->•
*>U tcnniuat? *•“
PRICE ON APPLICATION. BLUE PRINTS.
"RICE ON APPLICATION.
PLANS AND BUILDING DBA WINGS THE CELEBRATED SPIRIT PAINTINGS" (114)

Two
"TfA CHEST ■
square boxes decorated
il l u s io n (108)
•U daaltnt ar,

X
H
!
I]
<,?>
■y the cross out of cabinet
found lashed to cross. They carry
»ud »unding it on floor proceed to
tc release her. As oho is As featured the largest Theatres Wl
shown «7 BMtUfUf than, America Europe and
of x.uiope
„ “d oponlng thorn out flat
Sides .fold«! Up M lcra UxUp An easel at »town in our tlluatraUon li exhibited
IM and as they hav.
no tops
 BURLING HULL'S IM LATEST STAGE ILLUSIONS

TRIUMPH TABLE
NEW PATENT

Heavy Nickel Plated Tubing, Bronze and Steel,

55 m large in diameter t- :i; Ur
itrlkei up and she waltxes
“•
«»• ...
;*». <•"«. Tin OreH.Hr»
off the stage to the strains of

No soft tubing to dent or brass threadss to wear

out on this table. MODERN

STAGE ILLUSIONS
u
IL

I uiimiiii ■ >
th* LMerry W,dow ’ Complete 3100 Very novel and nrettv
rLAN3ICE WIIH rOUB BLUE ■‘»'NT DRAWINGS AND
....................................................................... 3200

I
LATTICE SCREEN MYSTERY (122)
A very simple and inexpensive Illusion, and o d o which
can also be used to great advantage In connection with any
production or illusion where It la desired to lint vanish a

-1 girl and then produce btr In some other Illusion. Girl

stands ou a thin pedestal, or on a table, and around her Is
placed a latticed screen made of woode*. elau. «-m tbe
opening of which she can be plainly seen. A clotb Is
thrown over ONLY THE UPPER HALF of screen. A pis-
tol la fired and screen Up> ever and falls flat on stage, and

J AND
ßb
SENSATIONAL ESCAPES
THE INDENT 1C AL TABLE DESCRIBED IN
BURLING HULL’S BOOK;

“A MODERN HANDKERCHIEF ACT’ (LARGEST VARIETY EVER CATALOGED] &

By a new principle the legs FOLD TOGETHER
for packing but do not come out of the centre girl is seen to disappear while it is falling. This illusion Is
LATEST STAGE ILLUSIONS
piece Table takes apart In 3 parts and In 15 ------ -------------- mltjudged because of the
. — — —... according to finish deMred.
seconds time. PLANS AND WORKING DRAWINGS. S3 00-

j THE WORLD'S FIRST IN a A i THE MAHOGANY TRUNK (123)

(So-called Brooks Trunk)
J CATALOG DEVOTED EXCLUSIVELY TO Performer confined in an examined trunk which Is then
covered with a canvas cover Isced up and tied up by au-
J. STAGE ILLUSIONS 4 BUILDING PLANS dience makes a "lightning like" escape in a few second*
I for CONSTRUCTING ILLUSIONS.
ILLUSIONS.
> -------- ~------
LATEST STAGE ILLUSIONS

1« LATEST STAGE ILLUSIONS

foot from floor, are SOME of the hundred and one featuree IMPROVED TRANSPOSITION CABINET
of supremacy. Thu is not the nonsensical Uttlt four-wirw-
absolutely impossible method "Explained” (?) sometime MYSTERY (105)
Mo in a magaxine. AFTER SEKVA1SE LEROY.
We ABSOLUTELY GUARANTEE either our make, from balcony. Cannon fir»- .nd t.unk towered from cell-
of the lUuxion or our Building Plans and Mechanical Work- A revolving Cabinet on a raised platform is shown cop
ing. Inside trunk is found two smaUer tranks, fron the ty by opening doors at front and back so audience can SEE
ing Drawings. •• • smallest of which THE SAME GIRL formerly placed In can-
RIGHT THRU IT. is in centre of stage. Performer takes
non now steps out No double*. Sime Olrl a largo clotb and stepping inside cabinet open, it out and
causes a form
‘ to ap| under It. This covered form he car
5>P«r
Performer stands on a small Ped- ties forward» and places
p near. the footlights. ... .—
He rproduce*
JUST OUT -MASTER MYSTERY PICTURES" islal waving a flag over bls bead. another fora, and then bit lady assistant produce*s two
(115) Assistants place a screen around him persons from the cabinet in tbe same manne.. Fvaivimvi
Performer
AT LAST This is nothing less than a revolutionary Im- and lady now step into cabinet which Is turned completely
and while be Is ;-UU waving flag around and when its front comes to view again they have
provement i d the ’ Spirit Paintings" PERFECTED m that
ila« celebrated Stage Illusion may NOW BE PRESENTED they pick tbe screen up and carry it both vanished. Two of tbe cloth covered figures throw of!
in SMALL HALLS. LYCEUMS, etc. Just think! I ANY forward allowing St to tip forward their coverings and are seen to be tbe assistants. One as-
PERFORMER may present it at Conventions, Y M C. A.’*. and class up and fail flat to tbe floor. sistant fires a revolver st the remslnlng two covered figures
Banquet*, etc Consists of a detachable frame srt up on which immediately throw off covert one at a time, and are
Perfoimer has vanished and may seen to be tbe PERFORMER AND LADY WHO A MO
an ordinary kitchen table and exceedingly portable. Nothing
to bother with or worry about—set It up ANYWHERE. Let appear from front of bouse or tn MENT AGO STEPPED INTO THE CABINET AND VAN
another illusion. No steps are used

13
to get upon tbe pedistal
Very puxxlin? because tbe PED-
I8TAL IB LESS THAN HALF THE
WID1H OF PERFORMER'S BODY
and u of tbe actual proportion to

L£f
tbe perforner as shown in tbe illus-
tration. An excellent QUICK VAN
1SH for a combination where per-
former Is to appear elsewhere. Two
etyles of construction selling at Su-V
and mh o . respectively
It stand at one side during your perfonnanci and WfaBD EXPLANATORY DRAWINGS
ready, «imply push ii to center of stage (on Ila casters) and
GO AHEAD AND WORK. For light you use an ordinary
1Gb watt electric bulb, and attach your extension wire to
ANY ELECTRIC BOCKET or use a carbide bicycle lamp PORTABLE HOOSE ILLUSION. DOUBLE
To incieax the mystery, a revolving color disc is used u PRODUCTION (125)
change the rays of light from tune to time as picture k Assistants carry out a small home supported on poles ISHED— THOUGH THESE TWO COVERED FIGURES
gradually appearing. Those wbo know the stage method as in illustration. Th»» ctrrV around «tage ? bowing all WERE IN VIEW BEFORE THE PERFORMERS VAN-
will bo absolutely at a los* U understand how it could be ISHED NO "False Forms" used. EXTREMELY CLEV-
so remarkably perfected aa to be presented "ANYWHERE EP. CABINET; PRESENTATION AND WORKING, Can
UNDER THE BUN" and WITHOUT ASSISTANTS. Price also bo worked with three persona.
complete with 3 pictures (32121) only 150.00 .
Secret. Presentation. Plans for Building and free Ad- Price (according to style of construction desired) quou
visory Service while building, 15.00. , od on application.
WARNING. Beware of fraud • «Spirit Paintings" now FULL PLANS AND
being offered for a few dollars aa tn these the PICTURE WORKING DRAWINGS FOR
DOES NOT APPEAR WHILE YOU ARE LOOKING AT IT. CONSTRUCTION
but the frame u COVERED and a few seconds later when
it 1* uncovered the picture HAS APPEARED Both our
methods employ the GENUINE SCIENTIFIC METHOD
Later on other dealers also
where lb* PICTURE GRADUALLY APPEARS IN FULL sides of bau»« WITH THE CURTAINS OPEN so audience Followed the Idea and also
BIGHT, ngbt before your eyes. We also supply the San can see It ia entirely empty Performer removes tbe back
Uouu Frame etc . (described elsewhere; U 00 and ItOO) so tbe audience can now >•« right thru iu Replacing the Issued a line of ILLUSION Plans
but do not misrepresent It aa the "Spirit Fainting*.” for tl back he draws the curtains shut when immedisUly they and BLUEPRINTS in their regular
is outhlng like IL axe pulled back and TWO AMIST ANTS appear inside Magic Dealer Catalogs lines.
 Sword Cabinet Larsens "Girl Without a Middle”
No. 1480. The Temple of Buddha
In the open center of a handsome
plush-lined cabinet rises a gold col-
umn with a small opening from which
projects a woman's hand and forearm.
Blank sheets of paper, signed by

I!®
the spectators, are placed in a gläsr
tube which is held by the lady's hand
which sways from side to side in a
weird and uncanny manner.
When removed from the tube the
papers are found to contain messages
orTortunes.
This performance, savors much of
mystery. The live human hand which
remains in space without visible mo-

1
tive means is positively startling.

n I
After the lady has been placed in-
\t J side and the box pierced full of swords
in the ordinary manner, the front door
is opened, when to the utter amaze-
ment of the audience the lady is seen
to have vanished, the box being abso-
I lutely empty except for the network The performer introduces a girl, then

I
of steel blades which penetrate the places a box over her. This box conies up
interior from side to side. to her knees. Another box is placed over
The cabinet may be wheeled around
and all sides shown while the door her coming up to her neck. Next a box is
is still open. placed over her head. Top and bottom
doors are opened to show legs and head.
THE BEAUTIFUL "COSTUME TRUNK" ■
Doors are closed and wide steel blades are
ILLUSION used to dissect head and legs from body,
A trunk La brougüt forward and TAKEN A PAKT, abow Now the head box is lifted off and placed to
log that It constats only of ao outsr shall and thrw drawers
Where Does the Head Go? Each drawer contains a co« turns of a well known nation.
Tbs drawers are now picked up and placed one on top of
one side. The torso box is lifted away and
placed on the other side. Door on the re-,
or "HEAD CHEST MYSTERY the other or "stacked." upon a raised platform, and the
outer shell of trunk la placed over thorn making It a trunk. ntaining box' is opened to show the legs.
Then the head box is opened and there is
the girl's head, but the back of it is to the
audience. It is turned around and the front
door is opened and there is her face. She
talks and sings. Doors are then closed and
the boxes replaced on top of each other.
Blades are withdrawn, boxes lifted off and
the girl is) intact. But one girl is used and
the illusion may be worked on any stage

The audience eolcct cue of t/iO coetiimee. and the lid L» no

sooner closed down by the performer when It la pushed no
from the ln*lde and nut :ten- a girl wearing THE COSTUME Super X Shadow Illusion I
SELECTED BY THE AUDIENCE. The other costumes and
tray have entirely disappeared A beautiful and charmingly
novel effect, which can bo worked anywhere at all. No
traps.

"SPIKE MYSTERY
Mysteries in Black Art

v a n is h ;

Performer car/walk away from his own

shadow. Snaps his fingers and shadow van-
ishes. To cause any other person to walk
away from his own shadow. Where per-
former's shadow penetrates thru a human
body. Where a person’s hat, coat, tie and
vest visibly vanish. Where rope melts vis-
ibly thru performer’s body, etc.
 ARTIST’S DREAM MODEL Burning Aliv« Uluaion No. 1440. The Altar of Fate No. 1315.
In center of stage or plati Iform stard» a si
affair, with a thin one inch I. top. The »mg p
design, so that a »tew of perk'former may be h
order to dispute the fact that • t mirrors arc u»<
Ne«t a chest—Egyptian-
_.. . »-like m appearance
tors. This appro»
its chest is approximately 14" in hei

( lb» casket and placed an a Uutk

...I.I...I .. placed - the u.y which
iid’aT tJür1“* "" <a,krt- Removing the
a.J- tfi q««"»hy «I In-
Itanaiable liquid «.«er the coniaoio af the
eaakM end apph.s . lljk.ed ,M<fc t. |,.
Perf.nner plasm a pietwa fraasa raterod with name, tam.d.at.ly barn faeth. and while
“• paper to represent eanva. on a nearby burning with . rrm.rkable degree el in-
•awl* tensity, the aide. of the ea&n ..ddenly (all
sorb as those used by artists. Donning
tork. a largo bow tie and lam. he seises
palette and brushes, and begins a sketch on the .i
paper. Iinching bolas at varioui spots, he pro-
duce, s.lka. fl.es. etc. As a dim... . beautiful I
lüffTäta,""'
To .««udoll,
1 •*“ Ud’ —
,u, „.„11., .„a
This new and thrilling spectacle wag invented and designed by us for use a« ■ feature out
moJcl LurMs through tho paper and is assisted door attraction. A* »uch it has already proved itself to be a great and decided success in
to tbe Mage by performer. ,.. (hi.,, ... . actual use.
A handsome altar-like table stands in the center of the stage,

FLASH APPEARANCE i terra u!l is .■k'uSu'.w1' “• thing tn th* natur« of special back drops, side screen» or mask!
•ven and the top is two inches in thickness only. may be brought in by assistant»—down ||IC .
A young lady is placed on the table and covered with a sheet saturated with »psril» ■.r. on «he table. Alsu, if desired the »pec
other inflammable liquid. Fire is immediately applied and at once the b.-di I.» reime t, t . cnest while it is being brought tn and up to t
mass of flames and is gradually and entirely consumed, while the spectator» iouk on with,lh posed head of a mummy-dead JUO »«ar. O
ghastly amaremenl may be permitted to place hit hands m.tdc—
Thia «fled can be presented on any lull lighted stage or platform and nrtrr» wunder Iul **s involved.
possibilities foe sensational showmanship. After chest is placed un table and front du
in full view, and is made further vi.iblc by me.
Price upon application. illuminates the entire interior uf the chest it.
Price, Thayer's master blue print plans ssoo Soft music—BEHOLD—the head of this Jt.
and soon the head of a beautiful girl, alive
speaks, and if desired, may respond to questio
Finally, the head—still in full light, gradual
No. 1413. Tho Tea Cheat Mystery mummy head of JOOO years ago. and which
passed for examination, should one with to d
All you need is on« girl assistant and you c.
hall or theatre, and at as rluse a distance a» s<
ment is complete, with plug in connector fur
a part of the outfit. There is nothing more fur
.. a *«••««
feat* ,0< «nr »how—regardlesi
will approaimale
weight will appi n«>t tu eaceed ICO lb
props required. The equipment comes Io you

EGYPTIAN "XUMXY
No. 1471. Th© Spider Girl

No. 1709—The Buzz

Saw Illusion Tb« performer introduces a large tea chest which rests on a neat platform which the
performer wheels all around Io show on each and every side, and to further pro«« it«
l&j
Not being Mtiabod with cilling a lady in emptiness the lid and th« front arc also opened.
Iw« parts by means of the ordinary posh and Two assistants enter with four small chests of lea which the performer empties into
pull method, a motor driven power sew for the large chest, after it has been closed. Again the magician wheels the large chest mi
ibis purpose Is now used, and more than that, the platform around, showing *•it —
on • ” *aides.
all u—
ba lady remains Io full uncerered vie* dar- Suddenly th« lid opens and up bob» a fair maiden who steps from the chest
in! the sclnsl gruesome process. Price, upon application.
Yet aba is able to mrvlva tbe ordeal oeee Prien, J'hayer's master blue or»»-« nU»« . . M.W
■nd over without bodily harm or annoyance.
A sensational feature with eeeeral leading No. 1442. Tho Looter Lak» Gaillotino
magicians.
Prien upon application. No. 1302. Tho Prince
Master blue print plana - •5.00

No. 1463. "Amazia" Illusion

(CHAS. WALLER)

l
$
Vn \V
Ki
This beautiful. Thayer built, one-man illusion miracle ladks not one single perfect de-
tail. Th* Brilliant, Baffling, Sensational. Thrilling effect of the age. th , 'pvt iiiNwiwwrinri
Th* solid steel nickeled blade nicaswres 18 inches long. 6 6 inches wide at one end and
'4 inches wide at the other. Place a potato, carrot, oe a head ,d of cabbage in the head rack. . ■ r '-Rrrrry rrrjyir
and cwt sn half with one thrust of the lever.
You then do the v«ry same moves with a person's head, the knife blade passing clear
(through and out from below, yet the subject never feds it. And dona with the atabence In center back stage stands a large Sarcophag
I Immediately, and tn full view, the cone ... »tie.. _
to increase in _ larger
getting _ and j*U arotmd you platform with a revoi.ir tup. A lady assistant. .
taller, until it reaches a total ol »«me fisc led in height. upon the platform. The pci
I Sets up m two minutes.. weight 4$ pound*, height 42 inches, floor space 24 by 24 inches, trfurmer show* a lengt
end of the doth under her' feel, the table is slow
Performer then opens cabinet curiam, when it iiis seen that the small Lu* as best shown, the*.
‘ packing space 6 by 42 incl
ha» also increased in sire, and it now alijiost f.U.
fills the cabinet. is wound entirely up with. tl .......... , fg
the cloth,. iiiuimiiy
and placed in full view in the Sarcophagus.
Performer opens dour ol bo», and out comes the Collywog—in full sire—and does a
loscly m with music. Magician mounts the ladder and. lilting tl con«—«here
No. 1434. Tho Crystal Box Illusion As the audience watches, the spirit, or ghost-
emerge from the body, and passing through the
stands Pierette—also full grown and, dismounting to the sage—she, desired, may Iront, and then is seen to slowly melt into ihm
dance a bnisned c»it. magician removes the mummy from the Sarcoph
Unfastening the wrapping at the head, the .too
No. 1428. Tho Firo and Water Illusion gradually fall. away. Although the shape of the
ol the body vanishes with the unwinding, and as i
body^of’the p7‘”X "h“’' '{f* h**,n< ‘'•l’3’

No. 1433. The Jack-(

(Ka RSTO

A fl

i
1 ‘ 31
F
St* large sheets of plate glass arc used to construct
construct a bo* upon a low and attractive J
First of
looking olatform tn full view q ( the audience. First of all. two long »traps arc laid across
't "I «4’ 1
,
the platform lengthwise then two other straps arc placed crosswise.
Affer this has been done the first sheet of glass is placed un the platform which composea
w
A cabinet made of wire network, and mounted on legs is standing on one aid« of stag«.
the bottom. Then the two ends and the two sides ar« »et upright in grooves and the lop
On the opposite side is frame work cabinet mounted on legs and having a Urge gUss tsnjc
filled with waler, suspended from top frame work of cabinet. Performer draws curtain* flwSilSuf0* WhKh ,O,m* * t‘HnpU,, <Um ,,unfc wh*th ‘u,,y transparent
on all atdes of cabuxt The four straps are then irmly fastened around the structure and Anally a large sheet
Performer introduces lady assistant, who gets into wirewoek cabinet and covers herself
mt. who
will, a cloth sheet. Performer step*I Lack ar fires pistol, imnndiatelr cabinet cootaming
back and is placed over all. Almost immediately the sheet is whisked away when a young lady is
girl Lunts into flames, she has y..i<l Going to other cabinet performer draws curtains dtselosed reclining comfortably within the enclosure, ar-d which of course has to be dis-
and Lehvld. there la the same girl reclining in the tank of water. assembled before she can make her applause producing can
Price upon application. In sue. this bo* when constructed, measure, appro, mutely 18 inches high, 24 use he.
Pruo, Thayers master blue print plans wMe and 48 inches in length, and tbe tllu.ion ships in two pieces.
 No. 1701—The Devil’s Torture Chamber No. 1461. Mystery ol tho Telephone Booth
1315. Re-Incarnation (WALLER)
r4s a small table, cc.niuoicd ol a three-wing panel
>.1 *4 a fancy cut-out ope" *ork
nag pane!■ cvti.i.l
use he (as.es behind the table mi
say be had every Imn
. are used and positively they ate not.
searance—is placed on the table-end on to sped.
• in height. W m width, and 24 m depth—dtMl

Mera we present owe ol the very latest end must seasatiuaal to thia typ« of iHuston
thrillers. A narrow U|«lglrt
rigin cabinet—with barely
barely enaugh room Ifar
eauugh rne lady aMiu.te
m lady Io stand.
awlManl go stand
Two narrow slots eateud frum top to bottom on both opposite sides ol cebtoet.
A square rock wick two lilting handles projecting from two opposite sides to lowered
from too of robinee. IgMMpt to flaue and boeh agnto-eU rock b.ndleo pneeteg by -sy
of the slats to sides of rabtowt.
This reck alalr romtois of a metal cross bar framework with numerous sharp nseul spikes
projecting downward. wKb >w<»t* if U i lew wd>s bet-sen.
Thus, it it very oppor.M that a person, while standing in cabinet, could in no
way whatever escape certain dsUructlon by reason of the descending spikes ol sto Th.
i opent up. and the front end panel it alto a door
action of spike reek may be operated by actual spectators if desired.
chest, or supposed Mummy (lead Burial Casket
age where si
wn the stale, and upon the stage X it then
then Critical inspection may be invited to each and every part ol the eMire illnaion. sod thus
allowed
tne spectators may be _____ Jd to
to look inside the
look inside the the clement ol real myslery is enhanced to a maaimuan.
I up to the stage What they tec tns.de
llx, sec inside it the sup-
tup-
years Otherwise, the tlitsl is empty, and any one No. 1706—The Disembodied Princess
inside—m prowl that no glass or secret apparatus No. 1335. Boudoir ol a Dancing Girl
fionI door uK‘*<d. iIk mummy bead rests therein (LARSEN AND WRIGHT)
e by mean« vf a special light circuit which strongly c ■ ■■ ----------- ------ -------------------------------------------------------
chesl Mself
t tl.is year vtd mucssi.y slowly comae to hie—
I, abvg and smiling, rests befute them. The head
. qutsliont aiktd by perfumer or the audience,
gradually translotmi bark again into the original
I which rr.ay at once be temuve^^rm^tcheil and

-C«l ii'«U 12
J you can at once present this ertec
rtators All
nee as sin fees from spectators AU lighting equ<p-
T
:soe foe any 110 crecurt Even the
- mummy head is
sere lor you to buy.
rgardless of haw great or how »mail The entire
J 1(a) lbs No additional scenery. _ Attings, or stsge
to you complete—ready to work

Improved —dob This ... f.siorod in tho Creel Tlu... Show, and now s toMnro -Uh
fUMMY* ILLUSION BUchasono. Aaatoum to shackled securely inside a pecuLM cabinet-wuh separate doors
for hood, legs and body
Large cabinet
ci set with small labte, chair, and the usual ladres* drcasing room con-
Hugo metal Liede, aio then throw through cabin« oaliroly—one o4 posMiou of neck,
tainments.
From'rolter curtaid shade pwlla down, but whe« iyd« Ugh«» «*". * «>••<»»« shadow and the other o< w.tos Hood and tog. .1 i—.ci wdl romate as balora. koi uho.
of any one moving within is i< fleeted upon the shade doors of rehtost are opened. Irens end roar. aasiMaat's body boa disappeared comptotely-
Girl flntshes dance, eaters sabw.es. pulls down the shade, cabinet lightss up as she starts AU doMS again close A and sMiuant reproduced iaiact. No glass or stage traps, and no
to disrobe, showing shadow Klon within. dumwy legs. «eck. say.Loco-to a parlor if yon -Uh.
Stooge sneaks up. and suidealy lets up the curiam, but a total and instantaneous
.an.sh of the lady hat taken place no. iflXX The Giri in tho Drum
Entire cab.net ia made of .... uxh material throughout No double walls, naps or (CHKEALO)
curtains.

No. 1401. Tho Princeas ol Tbeboa

l-ady assistant enters large oriental chest

which rests on tow platform Lid placed
on. and by mesas of attached chama ia
boasted mto mad-aar.
To prove the lady ia anil inside, she
pound, on the boa. blows out a candle thru
Princess ol Bakhton

1Ü
one of the air spaces, draws a silk hand-
kerchief inside, etc.
At flash or psstol shot, both front and
rear panels of chest Ian to th« floor, teav-
•ng the empty shell swinging in space,
while the lady herself may c«me running
so stage from audience, or make re-appear-
ance otherwise
Price upon application. The periormer introduces a Urge 30 mchldrum shell, iwo hoop bands, and two large
Price, 1 Layer's master blue print acts ol paper.
plans............................................... Wdfl With drum shell resting on top ol a skeleton boi-hke stand, the paper drum heads are
en attached by means of the two hoop bands, after which by means of fly lines •‘•'•vs
•e drum is hoisted well s..t.> mid-air
No. 1465. The Morritt Cage Illusion Blunging hit hand through the paper drum head, the magician then produces large
ian*;t^s of silka. flags, etc.
suddenly the paper bursts, and a beautiful girl has appeared, completely Alling the drum.

No. 1482. Walking Through A Hibbon

(THAYER1 VISIBLE FEATURE)
Performer shows a handsome J-wing
flat folding screen, whi.h he opens and
stands in open positron facing audience. A
aicophagus. Near al hai Und is a .mall low IlooI or Urge ribbon it threaded through skis In
ssistanl. costumed as ar. Egyptian
an ..., r----- .Princeas.
. - steps each of the two side panels and drawn back

e
s a length of mummy —
.......... appAg. and
wrapping, and placing
placing onr
one and forth to show all lau Neal, a young
k is slowly rescued with the
resulted w.ih the result lady
result that the tody lady stands in screen opening, and nbUxs
.uantny fashnm She then is tilled from the stool ia again threaded through screen passing
or*.Ust like form of the girl is seen Io slowly directly la front of her Udy. Now! Upon
command or p.slol shot, the girl walks
rc-agh t»< wrappings. it pa«*'«» <*»• * nwinrnt m

I
forth from screen and apparently, right
-*•- *w bu.t.ig Ina acisons to the Story the through the nbbon notw.ihstandusg the
e Sarcophaiigus -nd replace« it upon the platform fact that two spectators arc holding fast
is .gam resolved so that the wrapping to the Iwo sends of the ribbon, one at each
c.n *x dearly dehned. each pan side of screen
arm a» the l.st :-4d id s clear, i vthu.g reman s. The screen is light in weight and of ar-
s4 depatle.i. and taken with al the real mates sal re iUm two l«t square occupies center enclosure within large
tistic design, approximate sue 42” in height
I curtam all around the cage, which raises or lowers by means by II" in width ol each panel Handsome
•vsag all parts of the outer ctoact 1.0/ capote J to vsew at aJ ooca work pattern—in full flash decoration
elect.
~Nevertbeteu, every lime that rhe curiam ia opened arid closed a person hat mystermusly
i Jack-O-Lantem Gul appeared within the empty cage Phis operation may be continued «Mil a stage lull of
CAKSTON3 people have been produced one alter the other.
No. 1314. The Decapitated Princess

»a
A sectional three piece lall« work
<al<nrt is constructed on a lew plat- No. 140-1. The Sedan Chair Her« we present another very al-
form m full view ol audience

F3
A Urge pumpkin is placed on top of soecimea ol that particular
a wMt U corn stalk pedestal m the ü Iu s h « which it applicable
to "set" show requirement!.
center
G4l enters pumpkin via tvp floor, It consists of a very elaborately
her lace rima.iung visible through constructed chare ol the “throne
Ja.k-^-1-ar.iern trwat or "esalted ruler" type, across the
l-umi kii. >s ttt tovefl by handles and arms of which rest two ordinary
carried to front »tag«. swords In the center, and retting
BRESTOI The girl vanishes com- upon the bUdes ol the swords is a
woman*! head No possible doubt
«!.
^"'«w and beauiiful ceeatioo to can tinibui that the bead ia alive
every possible detail, and a novelty and genuine.
sensalioci f«« an, magician w magicil This ia one ol the most perplex*
mg ol all optical deceptions, and one
stage show revue.
that is toiled fot use at very close
Erne upon appbcaiM*. quarters, beautifully constructed. Il
Brice. Thayer s master blue ia made to pack flat for shipment
print plans . ■ M.W
 A COMPREHENSIVE COVERAGE OF STAGE ILLUSIONS
A crying demand'exists for a sort of "all out coverage" of information and
data on Stage Illusions as to the types, methods, principles and pre-
sentations employed in various types of and the operation of Stage
Illusions.

As the one who introduced the first "Do It Yourself" series of Stage
Illusion blueprint building plans - with 55 items in my early catalog
of 1916 (which were added to year by year until the present time) , I
am probably well elected to be the person to supply the information that
has been so greatly needed and so many have desired.

Some years after I introduced my idea, magic dealer Floyd Thayer follow-
ed with a fine line of Stage Illusion Blueprints. Still later the Abbott
Magic Company came out with a number of mimeographed sheets also giving
tracings and information for constructing Stage Illusions.
I gladly welcomed the addition of these dealers to the fold, I arranged
with them to handle their lines of plans (which I obtained from them
wholesale) for resale to my customers, adding them to my catalog.
I have tried to make the best selections of Stage Illusions from my
files of all these groups of Illusion Plans,
The reader, I feel, will first want to review the entire array of
Illusions that are available - and then decide on one, two, three or
five that he desires to add to his presentation or Show.
While it is obvious that I could not cover the complete building plans
of all known Stage Illusions within the pages of any one or two volumes,
because of the large space that would be required to reproduce all of
the plans in full detail, I have tried to select what I consider the
most "practical" for the modern-day performer who is presenting a
moderate to fairly sizeable magic show or TV presentation. These I
have given with as much detail as possible in the space available.
Additional Stage Illusions of the larger, heavier, and more cumbersome
or bulky type I have endeavored to cover in more condensed form, giving
the necessary information as to the secret, the method, or principle by
which the mystery is accomplished and the mechanics of its operation.
This plus the most approved style of presentation to make it entertain-
ing to the spectator.
In certain cases, however, I have included complete plans from the most
popular items from the old Thayer line of Blueprints, because they are
now no longer obtainable through Tannen and Kanter who formerly catar
logued them or via other sources.
 -2-

If the reader desires further information on some of the very complicated

or elaborate large-sized Stage Illusions as for use in say a television
production of an elaborate nature, he can readily obtain the complete
building plans in detail from one of the dealers purveying such planp.
Or if the illusion is one that is somewhat obsolete, such as some of
the old Thayer Illusion Blueprints, he can undoubtedly obtain a photo-?
static copy from some collector of Stage Illusion plans, as several
collectors make a practice of supplying needed photostatic copies.
Some books on magic, like New Edition Volumes of the "Tarbell Course it
(Published by Tannen) and the Blackstone Secrets of Magic, The Magicians
Handbook and Professional Secrets for Amateurs, contained some explana-
tions of Stage Illusions, not building plans, but an artistic conception
of the effect and appearance of the apparatus along with printed expla-
nation of the secret, principle and general operation. I have followed
this idea in the explanation of a number of Illusions which I felt were
too cumbersome for our modern average size shows and therefore unwise
to include in complete detailed plans which would displace much of the
more practical material I have now included.
For illustration of some of the less familiar Stage Illusions, I have
reproduced the simple sketches taken from my files of Stage Illusion
data - which I trust will be sufficient to convey the information need-
ed along with descriptive text in condensed forms.
I make no pretenses that this is more than a super-abundant "COLLECTION"
of material taken right out of my files - such as you might delve into
if you were to drop in for a visit in my home in Florida and run through
my files of data. What I have sought to do, is to convey to you the
greatest possible amount of data and information and not to make up
a pretty-looking book for a fancy bookshelf, one to show to your non-
magical friends.
I hope that I have succeeded in this, my 51st publication, in pleasing
you, my friends of many years and my readers of my 50 previous profes-
sional textbooks and brochures.
With every best wish for SUCCESS in your plans, I remain,
Most Cordially and Fraternally,
BURLING "VOLTA" HULL

•j
 STAGE ILLUSIONS OF TODAY
I class Stage Illusions mainly into the following groups:
INEXPENSIVE ILLUSIONS: Largely non-mechanical. Screens, non-mechanical
Boxes and Containers, cloth roll-ups - costumed switcheroosf
EASY TO CONSTRUCT Stage Illusions: With minimum of mechanical features.
Simplified Operation not requiring trained personnel.
ONE PERFORMER STAGE ILLUSIONS: Using Spectator as other person in the
operation of Illusion,

TWO PERFORMER STAGE ILLUSIONS: Requiring no outside personnel to handle.

Performer and one assistant only needed.
ALWAYS ON STAGE ILLUSIONS: Apparatus may be in position in full view of
audience before employed in act - and left in view after concluding
execution of Illusion. Placing assistant in Illusion apparatus -
operating the Illusions - then assistant exits from prop. Suitable
for show,? where there are not stage facilities such as wings or back
of curtain from which illusion may be concealed from view to "load"
in assistant or to "unload" after use.

SPOOK SHOW or "SCARY" TYPE STAGE ILLUSIONS: Suited to Halloween, Ghost

Show or as "promotion" ^ict in connection with either Horror Movie
showings or "SHOCK" TV Presentations programs. Burning Girl Alive,
Shooting Marked Bullet Thrpugh Body, Cremation and Re-Incarnation,
STAGE ILLUSION TO VANISH one or more persons<>

STAGE ILLUSIONS to PRODUCE or "APPEAR" Performer or Performers.

"TRANSPOSITION" EFFECT ILLUSIONS: Where one person is seemingly trans-
ported invisibly to another place.
"TRANSFORMATION" EFFECT ILLUSIONS: Where individuals are seemingly
transformed into other persons, animals or objects.
VIOLATIONS OF NATURAL IAWS: Sawing- Stretching —= Shrinking — Disec-
ting — Guillotining -7 Decapitating — Piercing — Shredding
Spikes Thru Body — Light Bulbs Thru Body -- Vanished Head — Arm
Chopper -•? Television Fade-Out and Fade-In. Vanish of Large Cage,
Trunk, Piano, Horse, Pony, Elephant, Tiger, Lion. Floating or
Levitation of persons or objects or animals. Suspending Ropes,
Water.Spouting Act, Miniaturizing objects or persons.,
OUTDOOR & CIRCUS STAGE ILLUSIONS: To be worked surrounded or nearly
surrounded at State Fairs, Expositions, Stadiums, Ball Parks. Some
Stage Illusions in one group may also fit one or more other groups
as classified above according to the type of presentation or show
in which they are to be employed.
 -4-
BUILDING SUGGESTIONS FOR STAGE ILLUSIONS
Xn using plywood, use Gumwood finish, not fir finish., Gumwood makes
rauch smoother, finer surface for painting, saves much money on paint
and labor in painting, decorating, etc. Use wood with plastic or weld-
wood resin sealed layers, to prevent absorbing moisture and avoid warp-
ing, peeling, etc.

Use 3/8" wood for most walls or sides. Use 3/4" wood to 1" wood for
platform or thicker if great weight is to be placed on it. Use large-
size castors or roller WHEELS on heavy Illusion, Never use cheap grade
castors.

Joints and corners can be made stronger by angle iron, or heavy angle
or L-shaped aluminum to protect damage to edges as they are banged about
backstage. Cement a woman’s change purse with contact cement to the
under-surface of platforms or tables, and fill with extra nails to use
as pins for pin hinges to replace those lost as often dropped on dark
stages. Carry a stand-up flashlight to enable you to see, to set up
and take down illusions on the dark spots backstage.
Carry in a similar purse, extra bolts, nuts and screws to replace those
dropped or lost as you have no time to look for them backstage. Carry
tools: a drill, keyhole saw, short cross saw, several plyers, metal
snips, sandpaper, metal hammer and claw or tack and nail puller, small
rubber mallet, an awl and small gimlet and a box of assorted nails and
screws. Also a few clamps and ’’contact" glue for repairs. EXTRA KEYS
for any locks or car keys carried in the little stamp pocket in your
wallet.
Cake of parafine wax to rub over any moving doors, slicing panels that
may tend to stick. Powdered zinc oxide ("fan ease" powder) makes an
ideal dry lubricant for sliding drawers or friction parts. A can of
3-in-one oil is a must for hinges and hardware, locks, catches, fasten-
ers and makes them quiet in operation.
To mark parts that must fit together, use one^inch of COLORED SCOTCH TAPE
to matching green parts of green, red to red, using several different
colors now available on market. If you run short of sufficient colors,
then place some pieces in shape of crosses, v’s, x's, squares, or double
parallel or vertical strips. This is far better than the old idea of
punching or stamping numbers on pajrts which are to be matched up. The
strips can be easily seen backstage by use of a small flashlight - while
numbers are practically indescernible .under such poor lighting condit-
ions .
 -5-

THOSE ETHERIAL "ETHICS" AND "CREDITS" IN MAGICLAND!

For years, like many lesser writers on magic, or rather writers of a

lesser number of books, I used to worry about the problem of "credits"
in magic. Until I received a very good lesson in common sense from that
extremely likeable chap Harold Rice, on how to be PRACTICAL in writing
magic books. As "Offleal Secretary" of the "MDA" the'magic dealers
club', I accept this as OFFICIAL.

I had picked up a catalog of Rice’s and noticed that EVERY old standard
Handkerchief trick he listed, was preceeded with his name as "RICE'S1
20th Century Handkerchief Trick" or "RICE'S Dying Silks" or "RICE'S
• Mis-made Flag Trick". A cute idea! It "plugs" the dealer's name re°
peatedly on each page, and for the new younger generation coming into
magic it may lead them to believe that EACH AND EVERY SILK TRICK was
INVENTED by Brother Rice!
But here was a real "Dilly". His "RICE'S Utility Dying Tube" I found
was copied RIGHT FROM PAGE 12 of my 1914 COPYRIGHTED Book - "THE MODERN
HANDKERCHIEF ACT with PATTER" ($2.00 at your dealer's). There you will
note the complete drawing and full data on the "Non-lambing" (Felt
Washer Feature and all)Type of Improved Sliding-Cup Dye Tube!
I wrote a most courteous letter to Brother Rice, and received an equally
courteous reply, stating THAT AS A WRITER OF A BOOK ON MAGIC HE COULD
NOT BE"CONCERNED" WITH WHERE THE MATERIAL CAME FROM WHICH HE DEALT WITH
IN HIS BOOK. Credit Brother Rice for solving with a stroke, this prob-
1em which had plagued and beset magic writers for years 1
Coming ’’right from the horse’s mouth” so to speak, from the very pen of
Harold Rice who is Official Secretary of the little $10 a year
dealer's club, the ”MDA” - "The Magic Dealers Assn.," (Inc.) - I shall
accept this as the official and fully APPROVED way of handling such
matters, so I have adopted the idea herein.
For instance, imagine having to list "The Thayer Plans" for the Larsen
"Girl Without a Middle Illusion: and Abbott's (the same Illusion) r.c
"The Disembodied Princess" sold in mimeographed sheets of drawings and
then Carl Owen's Tracings from the "Thayer Blue Prints" of the "Girl
Without a Middle"!! Pretty complicated credits, don't you think??
Magic dealers tell me that the "Buyer" of tricks does not care one "Hoot"
WHO first thought of or invented this or that gimmick •» he just wants to
BUY the TRICK — to use personally!

If I were to write a large book containing all the tricks listed in the
catalog of Lou Tannen or Mike Kanter - neither of these fine gentlemen
(and friends of mine for over 30 years) would raise the slightest
objection. A catalog of "mentalism" contains (like any other magic
dealer catalog) just a COLLECTION of many old and ancient and "STANDARD
tricks" collected by the dealer, from the past 50 to 200 years of the art.
 -6-
Like the catalogs of all other "Magic Dealers", it contains 99% Standard
LYicks that are NOT the EXCLUSIVE private Property of any one dealer.
The so-called "Nelson Gimmick" (sold $4.00) I find was taken from Page 8
of Dr. Thornton's great book. "Secrets of Mental Magic" ($3.00 from Ed
Mellon Releases, Pittsburgh, Penna.) The so-called "Nelson's Mental
Exploits" (sold $3.00) I find is really the old Joe Berg "rough & smooth M
principle deck ($2.00) and just describes card tricks therewith.
I think Brother Rice's idea is TOPS. Just explain the tricks - and to
Heck with the boys who claim the "Credits". Let them fight it out among
themselves! From now on that will be my policy also.
P.S. - There are 15,000 Magic Buyers listed in the Tracy "DIRECTORY OF
MAGICIANS" way back in 1951 -- and today there must be over 25,000!
They therefore outnumber the 29 Full Time Magic Shop "MDA" members
nearly 1,000 to one. As the "majority" is'tight" I will try to please
the Magic Readers only — from now on. I will try to give them every-
thing they want -- just as many other writers have done for years.
Just as MDA Secretary Harold Rice did in his books and catalogs -« that
COLLECT every single Silk Trick from EVERY source - Every previous
published Book - every DEALERS products in the silk line - every product
of every Inventor of a silk trick that had originated and introduced and
ADVERTISED his creations for sale via advertising creations in the magic
magazines. "GENII-CONJURORS" - "LINKING RING” - "SPHINX" and "M.U.M."
the official "SAM" Publication. Rice included "The NINE Burling Hull
Inventions in Handkerchief; Wands", which I contributed to the old
"SPHINX" Magicians Magazine, which Mr. Rice was fully welcome to use.
Let us all declare it "Open Season", on all magic, to all writers on
magic — from now on.

I
 7 -
GIANT PRODUCTION CABINET (8 PERSONS)

A small cabinet shown empty. Curtain drawn across front,and a couple

of girls appear. Cabinet shown again, another girl appears. (Cabinet .
With CURTAINS OPEN, may be turned around and all sides shown.) Again
curtains are drawn together, and girls appear, Again curtains are
drawn and finally two more girls are produced. No traps or mirrors,
and cabinet is raised 18 or more inches from floor, and operated in
center of stage, away from everything else.
The secret lies in the marvelously ingenious construction of the cabinet.
It employs the best principles of several other cabinets combined with
its own principles.
The lower left hand drawing shows the plan of the cabinet which has a
double back partition. This partition has hinged doors at the back
and front as shown, and swinging as indicated by the dotted lines and
arrows. Hinges are of spring type, so doors will remain closed when
released, Within this partition si* persons may be carefully concealed
as shown in this manner: Person No. 1, 2 and 3 first take their places
as indicated by numbers. Persons No. 4 and 5 then fill in the spaces
between the first three as indicated in plan. Party No. 6 then mounts
behind hanging on the back. A ledge, (as shown in the right hand
drawing) is provided at the back, so the last three persons can be
supported on the back, six inches above bottom frame so heels will
not show to those in front.
Three more persons are concealed in the top of cabinet, as shown in
both pf the upper drawings. The top is curved to conform with the
front of cabinet in a sort of scallop design. The curtains at the
front are gathered in the center as shown, and a rosette is placed
in the center. This rosette and the curved draping of the curtain
serve to cpnceal very cleverly the fact that the top of the cabinet
which seems to be only five inches deep, is really eleven inches, —
- but the apparently accidental overdraping of the curtain and the
rosette conceal six (6) inches of the top space, which secretly extends
down below the apparent dividing line of the curtain and roof. Three
persons are concealed in this top (as shown in upper left drawing) --
but as the cabinet is only 50 inches long, they allow part of their
legs to hand down (from the bend of the knee downward) inside the back
partition. They therefore lie on their backs with their faces upward.
The floor of this top compartment on which they lie is cut into three
trap doojrs, swinging downward and hinged at the front edge of cabinet.
The doors also have swinging handles (leather covered) attached to them
just above where the shoulders of the concealed man lies on each door.
These are to enable him to hold on when the door is being swung down-
ward to release him, so that he may lower.himself gently to the floor.
Doors are held up by strong bronze bolts on underside. WORKING: Cabi-
net is wheeled forward with curtains closed - back is shown - the per-
sons on back simply moving forward inside cabinet a few inches -- and
then back to position shown in uppep left drawing, with the doors bulg-
ing outward — Curtains opened and inside shown. Curtains drawn to —
the persons No. 2, 3, and 4, move thrp. the swinging doors. Curtains
 8 -

drawn and they are "produced" one at a time or as desired. The person.
No. 6 has naturally, moved forward, and is now where No. 2 formerly
stood. Curtains closed -- Assistants No. 1 & 2 now pass thru back into
— inside of cabinet and when curtain is drawn, they step out. Cabinet is
now turned around again slowly — and in meantime, assistant No. 1 re-
leases the three men in the top section. Drawing back bolts on the
center trap door and lowering slowly so man there can slide down. This
man immediately releases one of the remaining men in the top while the
assistant No. 1 is releasing the last man. These three men conceal
themselves b’etween the back partitions while assistant No. 1 remains
inside cabinet, and is subsequently produced like the others before him
when the cabinet is again opened. Once more the curtains are closed
and the three men at back step thru and are produced for the finale.
A very important feature of the cabinet is the type of wheels required.
Because of the great weight of the cabinet, ordinary castors would not
do. They would break in the first place and in the second place, .-it
would be so hard to move the cabinet on them, that it would be evident
that the movement required great effort — thus revealing the fact that
the cabinet was heavily laden. The special wheels illustrated in the
drawings are of the type used in Thurston's version of this illusion.
Heavy dpuble disc wheels, with rubber tires and ball-bearing axles.
Wheels about 8" X 10".
TUB OF DIOGENES

A cask with both heads removed, to afford a clear view thru the cask,
rests on supports a few feet from the footlights. The performer and
an assistant then proceed to cover both ends of the cask with two extra
large sheets of paper, covering the rear end from the audience first.
Keeping the paper in place by means of two hoops which are pressed
over the heads of the cask (a la tambourine). Performer then inserts
an incadescent light in the bung hole of the cask to prove that it is
really empty. Then an assistant made up as Diogenes bursts thru the
paper in front and crawls out of cask and retires, The head of the
cask is pointed toward the audience, The sheets of paper are purposely
extra large to conceal the man entering the cask.
The rear hoop is held at the top by a spring clutch and the hoop can be
raised enough to allow the man to crawl into the cask, (see Figure).-
Cask is directly in front of the stage trap and an assistant stands
close beside the cask to guard this with the subdued lights and extra
paper the man's entry is not noticed.
A recent feature is to show both ends of the cask while light is turned
on. This is done by using two electric globes on wires so that man in-
side may hold one near frönt and one near back so that he shows no shad-
ow until he is ready to appear. This is connected onto one dropped in
thru hole in top. When ready to appear, he swings light behind him or
puts out the extra light.
 9
IMPROVED TRANSPOSITION CABINET MYSTERY AFTER SERVAISE LEROY.
A revolving Cabinet on a raised platform is shown empty by opening doors
at front and back so audience can SEE RIGHT THRU IT, is in center of
stage. Performer takes a large cloth and stepping Inside cabinet opens
it out and causes a form to appear under it. He carries it forward and
places near the footlights. He produces another form. Then his lady
assistant produces two persons from the cabinet in the same manner.
Performer and lady now step into cabinet which is turned completely
around and when its front comes to view again they have both vanished.
Two of the cloth covered figures throw off their coverings and are seen
to be the assistants. One assistant fires a revolver at the remaining
two covered figures which immediately throw off covers one at a time,
and are seen to be the PERFORMER AND LADY WHO A MOMENT AGO STEPPED
INTO THE CABINET AND VANISHED—THOUGH THESE TWO COVERED FIGURES WERE
IN VIEW BEFORE THE PERFORMERS VANISHED. No "False Forms" used.

Cabinet about four feet square seven feet high turning on an axle as
shown in drawings and supported by rubber-tired rollers so it can be
revolved, A row of electric lights arranged as shown, on upright in
center of cabinet.
REQUIRED: An assistant of the same proportions as the performer, who
can be made to resemble him. The two side pieces which fold inward
and are mirrors as indicated in blue print, are lined with dark cloth
on the back so that when folded flat against the side of cabinet they
form part of the side walls. When swung inward to meet the center post
as shown in upper right drawing (floor plan) their mirrored surfaces
reflect the side wall and enable two persons to hide behind them. The
lights assisting in making it appear that the reflected side walls are
really the back wall. Performer takes a large cloth and stepping in
front of the cabinet holds it up completely concealing himself and the
front of cabinet whereupon one assistant (man) pushes back the mirror
and steps forward so his form can be seen under the cloth. He walks
forward and performer walks directly behind him retaining hold on
cloth until in position shown in catalog. Lady performer does like-
wise producing another form under cloth (lady assistant). Man perform-
er repeats the act, but this time the man who is made up to resemble him
takes hold of the upper corners of the cloth while the performer himself
drops down and becomes the form under the cloth. As attention is center-
ed on the form that has appeared under cloth little attention is paid to
the man who represents the performer, which makes it easy to carry out .
the exchange. The performer’s double should stand thereafter with back
to or face turned away from audience, to prevent any possibility of
discovery.- Lady assistant does the same thing, exchanging herself for.
an assistant the same height as herself and attired the same way, though
as but little attention is paid to her in comparison to the performer
himself, the resemblance need not be so close. Both fake performer and
lady have disappeared. (They take up a position behind mirrors while
front of cabinet was away from audience.) Two of the covered forms throw-
ing off their covers reveal themselves as the assistants of the act. One
fires a revolver at remaining two covered forms who throw off their covers
one at a time and, of course, are seen to be the performer and the lady,
 10

whose "double" just stepped into the cabinet. Ac the begining, two
assistants are concealed behind the mirrors, and two more in the space
under cabinet as shown in lower right drawing, the platform being con-
structed on the well-known perspective principle as used in DIDA and
various illusions, so that it appears very shallow from the front.
After the first two are produced from the cabinet, the mirrors are swung
flush with sides of cabinet, and performer then opens the back doors
permitting a clear view right through and out the back, and then closes
them. When holding the cloth up in front of cabinet assistants concealed
in platform mount the shelf and step inside cabinet, (the mirrors having
been closed or swung together by performer conceal the opening of the
back doors) the back doors being arranged on swinging hinges so they can
be swung inward as sell as outward. The mirrors should be of the metal
type to prevent breakage, if the illusion is intended for road use.
Cabinet about 7 to feet high.

THE MERRY WIDOW ILLUSION

On a raised platform, is a tent pole, around which, plain tent cloth
(nothing concealed therein) is drawn. The tent is closed for a mo-
ment. Then the tent cloth is pulled away and in the center of the
platform stands a girl dressed as the "Merry Widow," wearing a mon-
ster ”Merry Widow Hat" as large in diameter as the top of the tent. "1
The orchestra strikes up and she waltzes off the stage to the strains
of the MERRY WIDOW.

The base under the platform is of wood supports which are perforated
with large holes arranged in a decorative manner, but really for a sec-
ret purpose. While the holes in the front sections can be seen thru
actually those in the back section only appear to be clear as they are
backed with a dark material (black velveteen) and it is behind this, the
girl is concealed as shown in the blue prints - note location of girl.
The hat is concealed in the top supported by the wire framework per blue
prints, and a strong steel pin or needle runs thru the hole in the hat
and supports the top wires. The wires all pivot on pin so that when
removing the cloth covers, the wire form is collapsed and gathered up
in the cloth.

WORKING: Girl rises thru trap, takes hold of the wood or metal brim of
the hat and lifts it a bit so that she can remove the pole and places '
her own head under hat in place to support it, however, keeping hold of
brim to steady it while performer is peeling off cloth cover or tentingr
material, Then when all this has been removed she simply seizes the;
pole as a staff and waltzs off to the strains of the "Merry Widow" keep“
ing hold of the immense hat to steady it.

A pretty effect is to have the staff decorated with spiral stripes in

brilliant colors, but covered with a thin silk sheath to give it the
appearance of plain wood. This sheath the girl should peel off (or
unbutton from the back if it is made with dress snappers) and thus add
to the effectiveness of the illusion.
 11

SUGGESTIONS: Though not shown so in the drawings, we prefer to have

trap cut triangular in form, the point being toward the center pole.
THURSTON'S "VAMPIRE1' ILLUSION IMPROVED DOLL ILLUSION

On a small circular stand RAISED FROM THE FLOOR so that all can see under
it. A doll's head, supported on.three sticks, is dressed up by performer.
Performer WINDS UP the doll which then walks stiffly about stage like a
mechanical doll. Finally orchestra plays a One-Step, when doll starts
in to dance with one of the assistants, showing that she is a real live
girl. (Can be worked anywhere, no mirrors or traps required.)
There are two styles of bases used for this illusion and three different
methods of working it. Our bases can be operated on either of two methods.

The dolls head of the shape shown is made of aluminum painted flesh color,
except the face which is either wax or papier-mache and is secured to the
dolls head by two thumb buttons. To the audience, however, it appears
to be all one piece. Sockets are provided in both the doll's head, and
in the revolving base to hold three sticks upright.

The trick proceeds as described. The first article of clothing placed

around the doll is a sort of wrapper which is about 8 feet long and is
wrapped about three sticks. It is at this point that the "LOADING" of
the live girl is accomplished with or without traps.

When the clothes are first brought out they are hung on a skeleton
clothes horse, or in the old method, placed on a table. As soon as
sufficient "cover” is secured by these, the girl rises thru a trap and
conceals herself under the table or clothes-horse.
FIRST METHOD: Assistant holds one and across the front of the doll and
performer unrolls the long dress, which makes a sort of shield or run-
way between the table, clothes horse, and the doll. The girl stoops and'
runs quickly across and gets into the doll, and the performer starts
walking around it holding the end of the cloth thus wrapping it around.
the doll and the girl inside. A large wig with hair reaching to the
shoulders is placed on the doll and the platform is reyolved so the per-
former can comb the back hair. Assistant steadies the head and at the
same time turns the thumb buttons and removes the wax face so the girls
face appears thru the opening, but as her face is away from rhe audience,
they cannot see it. A regular dress is now placed over the doll, being
put on OVER HER HEAD. This gives the girl opportunity to pass her hands
into the sleeves by bending arms upward at the elbows. Sleeves are made
long so they hang down over and conceal her hands. The dolls head or
bust is now supported on the shoulders of the girl inside. The three • ■
sticks are withdrawn thru the top of the dress, but placed on the outside
as props to keep the illusion up. The wax face removed from the front
may be either concealed under assistants coat or wrapped in an extra
piece of cloth matching the dress put on the doll and later carried away.
The performer is now free to work up the climax in any way to his taste.
 12

SECOND METHOD: (Without traps) Girl is concealed in wings and the illu-
sion is operated near enough to the side so that the cloth wrapper
reaches in front of clothes horse when curtain rises.

THIRD METHOD: The center of the revolving base and stand are cut away
so they are like a couple of hoops revolving one on the other by ball
bearing casters running in a groove "IN THE STAND." In this case,
performer wraps the WRAPPER around doll so it reaches to floor for a
moment, during vhich, girl rises thru a trap directly under stand. She
stands by placing one of her feet on each side of revolving rim, legs
slightly spread, performer immediately pulling the wrapper up around
the neck of the dpll so dress clears the floor.

NEW METHOD IMPROVED "NEST BOX" ILLUSION

No shift. The boxes are opened out FLAT ON TWO SEPARATE PLATFORMS.
Then folded up into form of boxes without tops, smaller box dropped in-
side larger box. At pistol shot, girl pops thru paper at top and steps
out.

The following is a great improvement over the old TEA CHEST ILLUSION.
The larger box is fixed permanently to the platform. The sides are
apparently opened out flat from hinges at the base of the box, but as
the drawings show they are really hinged at a point about 3% to 4 inches
higher up on the sides with secret hinges which are secretly and care-
fully inlaid level with the surfaces and painted over. The entire box
is best painted a. dark blue or black outside and a light color inside
to make the inside of the box look larger. A piece of strong canvas
painted or dyed black is nailed over the entire bottom of platform and
as the platform under the box is cut away the girl is enabled to conceal
herself in the space between the canvas bottom (which sags a bit under
her weight) and makes a few inches of additional space, and the false
bottom of the large box. The sag in canvas is invisible to audience
owing to perspective from which they view the platform. (The same prin-
ciple which is used in DIDA and many other illusions.

The trap-door in the bottom of the large box which is hinged to swing or
open upward must be made smaller than the one in the bottom of the
smaller box which fits within, as the two doors are opened upward at the
same time when girl makes her exit, and the door of the larger box must
pass thru the frame of the trap-door in bottom of smaller box as shown
in the drawing in lower right hand corner of blue print.

In opening out the larger box flat on platform, it is well to have

assistant stand at one of the front corners and the performer at the
other front corner and to open down the front and two sides simultanepusr
ly, as in this way the legs of the two operators will conceal the front
corners of the platform and prevent even a magician knowing how the
illusion is worked, not being able to distinguish that the box is not
hinged level with the platform.
 ’ 13
Always show large box first, close it up and secure comers with pin and
plate as shown, then show the smaller one. Cover with sheets of paper
slipping ehe iron frames shown in blue prints over the top boxes to hold
paper on. Pick up smaller box and drop it thru the paper into the larger
one and at report of pistol, girl pushes up trap-doors and bursts thru
the paper top of the small box.
THE MARVEL "opening*1 cabinet mystery
This is one of the cleverest and most useful Cabinet Mysteries ever
invented. • Several Scientific Principles contribute.

FOR APPEARING PERFORMERAT BEGINNING OF ACT.

EFFECT: Cabinet about 3 ft. square and 7 ft. high with a draw curtain
in place of a door across the front, is seen standing in CENTER OF STAGE
at rise of curtain. Cabinet on legs from floor. Curtain opens of its
own accord showing the empty interior. When this has been noted curtain
draws to again--then opens once more and performer is seen standing with-
in. He bows and steps out—then turning the cabinet around (curtain -»V
still open) silently calling attention to all sides. The cabinet is
no sooner around to the front again when he draws the cur tain "to,’then
immediately opens again and his charming lady assistant is found inside.
He leads her out of cabinet and begins the performance. A charmingly
novel and highly appropriate Illusion for "Opening" the show.

ANOTHER EFFECT: PERFORMER WALKS OUT FROM SIDE, PUSHES CABINET SLOWLY
around co show back (curtain closed) then throws open curtain exhib-
iting interior then closes it. Immediately opening it his assistant
steps out. Performer himself now steps in and LEAVING THE CURTAIN STILL
OPEN lady assistant turns cabinet around again, and when it comes front
to audience again THE PERFORMER HAS GONE AND A LADY IS FOUND STANDING
IN THE SAME POSITION AS HE OCCUPIED. This lady now steps out and turns
the cabinet (STILL OPEN) around and when front comes around the per-
former has returned to cabinet. This makes a novel THREE CHANGE EFFECT
which entertains for a few minutes with rapidly following effects.
ILLUSORY SECRET AND EXPLANATION OF PLAN: Cabinet has TWO PAIRS of rear
doors as shown in FLOOR PLAN, Doors "A" swinging inward and doors "B"
outward on Spring Hinges. The "stops" for all doors are at TOP of
cabinet only. TO DECEIVE THE EYE as to distance front and back the in-
terior is painted with BLUE slightly lighter than "Flag Blue" and then
vertical stripes of either dark blue or black are painted about equal
to the spaces of Flag Blue. This combination makes it impossible for
the eye to judge the size of the interior or the cabinet assurately,
blue making it appear LARGER and the stripes lend effect distance..front.. .
to back on a well known optical principle.. The stripes further conceal
the crack where the two doors meet at edge of stripe.
WORKING: One performer stands just back of doors "A" while the assis-
tant stands behind him with toes on back edge of cabinet and leans back
against the doors "B" HANGING REALLY OUTSIDE THE CABINET but prevented
from falling out by the ELASTIC MESH STRUNG ACROSS their edges (see
 14

drawing). The small size of cabinet (which is one of the big points of
the illusion) prevents him from getting inside, Performer inside reaches
up and moves button on cord over his head which cord running around top
of partition of cabinet controls the opening etc. of curtain in front.
He then steps out thru doors "A" while assistant immediately moves into
his former place—which now allows the cabinet to be turned around and
all sides shown. The. assistant next appears. For the three change
effect the curtains are left open for better effect and the performer
and the 2nd Assistant merely change places WHILE THE CABINET IS BEING
TURNED AROUND AND THE OPEN PART IS AWAY FROM AUDIENCE. This three change
effect appears to produce THREE persons so confusing are the rapid effects.
Cabinet should be well raised from floor and operated in center of stage
and on easy TRAVEL BALL BEARING WHEELS. Size on scale of width 3/4 of
length from front to back which is 40" subject to size of performer.
Work from drawing which is on correct scale. Space between doors "A" &
"B" 8" subject to your build.
Cabinet should be built 7 ft. to 7% high to prevent gallery from seeing
over top and catching any chance sight of the back doors when opened out.
Cord controlling curtain is actually close to top of doors "A" to be
easily reached but is shown further back in drawings simply to prevent
confusing the line with doors.
ANOTHER OPTICAL PRINCIPLE IS THE USE OF A CURTAIN WHICH AS IT GATHERS
up near the front corner of cabinet somewhat cuts down the WIDTH of the
audiences vision so that the distance from FRONT TO BACK inside the cab-
inet actually looks greater than the WIDTH INSIDE THE CABINET (as the
entire width cannot be seen) as it would be if the cabinet were the same
inside as outside. All sides of interior are visible to different parts
of house, and to ALL spectators at the time the cabinet is being turned.
."
BANKOK BUNGALOW OR "FIND HIM IF YOU CAN1 (AFTER THURSTON)’
Man vanishes from pedestal. Performer states that he has passed in-
side a little house about 14 inches wide and 23 inches high, To prove
it he places same in a cabinet when man immediately appears, Man
disappears from cabinet (cabinet taken all apart—curtain off, etc.)
and man appears in audience. No doubles needed—Very novel.
SECRET: The floor of the cabinet is double and built on the well known
"bellows" principle used in several illusions, so that it can separate
enough to allow a person to be concealed in the space between the double
floors. On the person leaving his place of concealment-, the bellows
closes up and (the two floors coming together) become about the same
thickness as a single platform.
The little house is about 23 inches high by 14 to 17 inches wide
generally, but this is varied according to the size of the man or boy
to be concealed therein. The front is straight and the back curved
(note thac the "explanations" in Goldstone Magazine of Magic have this
illusion wrong as the curve of the house is shown the other way therein,
and no human being could get into it). The information we quote herein
is from the inventor of this illusion, who built it for Thurston and
 -15-
PERFORMED IN IT FOR HIM several season. The steps of the house provide
space for the performer’s toes. The chimney has a small hook concealed
behind it. Ocher details—string to draw front section toward man after
he has concealed himself in curved shell, catches, etc., are shown in
drawings.
The method of working is as follows: Performer is first vanished in some
other illusion. During this vanish, the little house is in full view
over the footlights, front of stage. The cabinet, however, is OFFSTAGE
so that after man has vanished, he can get in between the floors of the
cabinet (bellows) and conceal himself, Cabinet is. now pushed on the
stage.
Performer invites the audience to guess where the man is hiding and
generally has someone (usher or plant) fixed to call out "in the house".
If not, he, himself, states that man is in the house, picking it up with
one hand lightly so that it will appear ridiculous. He also may tip
the house and say "Are you there?", and then using muffled (ventri-
loquil) voice answer as if from the house saying, "Hello, what do you
want?" He then picks house up and places it in the cabinet which has
been brought in in the meantime, AND DROPS CURTAIN OVER IT.
Man springs out of bellows and walks out of cabinet. That the man
really was concealed in the house, the audience is now convinced is
IMPOSSIBLE, feeling sure that he was somewhere in the cabinet. Man
steps back into cabinet. He quickly' conceals himself, THIS TIME IN
THE HOUSE. Then performer suddenly stops illusion and says-, "I heard
someone up there" pointing to the gallery, "say, he is in the curtains".
Thereupon, Magician pulls down all curtains except on left side (stage
left). This is a double-curtain and has a collapsible ring in it to
hold it out as if some person was hiding between folds.
The little house is picked up by assistant and swung off stage. He
can carry it off with one hand, man in it and all, because he has hooked
a wire from above stage onto the hook back of the chimney so that the
real weight of man is borne on the wire, and not by the assistant. Man
leaves house and runs around to back of audience while performer puts on
by play with the ring in curtains, showing it empty finally, etc.
ORIENTAL MYSTERY HOUSE ILLUSION SURPRISE
An entirely new illusion, the impressive feature of which is that it may
be operated ANYWHERE-- even in the OPEN AIR or in a circus tent, without
fear of detection. A little cabinet as illustrated is brought forward
and the doors are thrown open (downward to sides) and CABINET TURNED ALL
AROUND. Closing the doors, Flowers, Lighted Lanterns, Live-stock, etc.,
are produced from same through the little "windows" in the doors. Once
again it is shown empty; but when the doors are thrown open again a lady
in turkish costume is found reclining therein, and in place of the bare
walls of the cabinet it is hung with rich oriental tapestries, the floor
covered with a heavy rug and little jeweled lights hang from the ceiling.
 16

Can be built with either doors opening out to side or opening down-
ward, the latter being preferable as it allows for more production
material being concealed.

SECRETS & PRINCIPLES: FIRST: •- “ *

The doors (see fig. I); are apparently
hinged at about 4 inches from the bottom--but they^are really*hingedI on
a SECRET HINGE 5 inches above that point.
Doors are painted a different tone from the base etc. to increase the
illusion while the hinges themselves are gilded or prominently colored.
Doors front and back as shown in working drawings, contain little win-
dows, (take size and position from drawings which are made to scale),
which must be IN THE SAME POSITION as shown and NOT IN CENTER OF DOORS.
Windows also may be made in the ENDS of cabinet. Curtain hung in each
window. This double hinging leaves a space between (see fig. 2) for a
girl to be concealed in COMPARTMENT "A” and a quantity of live stock
and other production material, flags, flowers, etc. in COMPARTMENT "B”.
But from the audience point of view the very small space from hinges
to bottom (seemingly only 5 inches) makes it seem impossible to conceal
anything.

FIRST WORKING; Open the front and back doors down. Walk around cab-
inet, pass hands thru windows at end and look thru from back so that it
will be seen mirrors are not employed. Close back door first then
front. Reach in window and produce material from COMPARTMENT ”B" then
open doors and show again. Produce second half of material and then
wave your hands before window and command it to come forth itself. Girl
inside sits up and picking up the pigeons, etc. places them at the win-
dow thus producing the effect that the animals or birds are trained and
respond to your call--which always brings applause. A squawking goose
or squealing pig decorated with pink ribbons is a good comedy feature
for the last article and the animal being unable to get out as its
squeals indicate, you open the cabinet and take it out amid the laugh-
ter created.
The doors are again opened down, then closed. Step to front and request
audience to watch the cabinet for you are going to produce in your final
effect a SURPRISE. Then throw the front doors open AND THE ENTIRE
INTERIOR IS TRANSFORMED INTO A RICHLY FURNISHED ORIENTAL CORNER, THE
WALLS HUNG WITH BROCADED VELVET SPRINKLED WITH JEWELS AND SPANGLES—AN
ORIENTAL LAMP AND TWO LANTERNS BURNING SUSPENDED FROM THE CEILING AND
A TIGER RUG OR CUSHION ON THE FLOOR ON WHICH A GIRL IN ORIENTAL COSTUME
RECLINES. The surprise is complete. The beautiful climax is so
different from the rest of the trick that it comes as a complete surprise
which with proper presentation should ’’BRING DOWN THE HOUSE”. The
transformation is due to the 3 inch space at top. The CEILING SWINGS
DOWN FORMING THE NEW SIDES OF CABINET AND THESE SWINGING PARTS ARE LINED
WITH THE VELVET AND DECORATIONS. The center portion "R" is lined with
the fur rug which is used for couch. The large center lamp folded flat
when in compartment as top falls down of its own weight and forms itself
into a glass (or colored celluloid lamp) 8 inches high. The lanterns at
side also drop down when side pieces are released. A few Xmas tree
 -17-
electric lights hung on the swing-down side pieces will increase the
beauty. All lights lit by electricity either from batteries in com-
partment at bottom and controlled by a single switch in top, or con-
nected with house current thru legs which may be rolled over contact
plates on floor. A folding bird cage with bird and numerous other
articles disposed inside so they will drop into place themselves may
be added, A roll of silk arranged as a roller shade can be drawn down '
at the back to cover the back wall or door of cabinet, Or the entire
top can swing down to form the back while the side wall coverings may
be the ones on shade rollers. The former is preferable as it is easier
to operate.
THE HAUNTED HOUSE
A small cabinet raised THREE FEET FROM THE FLOOR, in the form of a
house, with a window, is PROVED TO BE EMPTY. Various characters
appear, 4 or 5 at a time, and enact different scenes. Love scene—
Comedy Scene—and finally a Murder, all this is seen through "THE
WINDOW OF THE HAUNTED HOUSE". BETWEEN EACH SCENE this little house
is shown EMPTY. ITS COMIC and DRAMATIC features delights the audience.
THE PERFORMER opens two tall windows from a narrow cabinet representing
a house as in drawing. The roof is painted to represent shingles, the
sides around the window, bricks. There are two sets of steps, one in
the front and one in the back. The performer walks thru the little
house — showing that there is nothing inside -- closes the window
and hangs a curtain at back of cabinet to prove that no Magic Lan-
tern or moving picture could be used to produce the effects. The
stage is darkened, and the light inside the house grows brighter and
brighter. The shadow of a ghost appears. Next you see a sailor and a
girl making love, then you see a miser counting his money.. The sailor
returns, stabs the miser, takes the money and gives it to the girl.
At the end of each scene, such as the miser counting his money, etc.
the lights inside gradually grow dim, the house gradually becomes dark
and the ghost, or the sailor and the girl, etc. disappear. The win-
dows are quickly opened showing the cabinet empty. A committee can be
on the stage and walk all around the house during the manifestations.
It is a wonderful illusion and there is no limit to the effects which
can be produced. It was first produced in London by Maskelyne and
Devante. But much simplified in America by Dr. Carl Herman (the
Electric Wizard) who created a sensation with the illusion, and re-
ceived a large salary.
THE SECRET. Drawing shows the construction of the little house or
cabinet. The catalogue picture shows it as the audience see it.
Fig. 1 shows the double walls, 3 in width in front, and 12" wide at
the back. The dotted line is the inner wall which leaves room for
two people to be hidden between the two walls. It also shows in
dotted lines the doors in the inside walls which are 5% ft. high.
The front of house is 6 1/3 feet high, but 7^ ft. in the back. The
roof is slanted forward and has an ornamental piece at the back as
shown is drawing. The windows are each 5^ ft. high by 1% ft. wide.
 -18- •
A fine guaze painted white is used instead of glass in each window. In-
side the cabinet near the top is a strong light (electric) connected with
the house and the dimmer so that the lights can be gradually lowered. In
the two compartments in the side are concealed four persons and costumes
to make changes. While one or two performers are enacting a scene, the
others are getting ready for the next, and vice versa. There are no de-
lays. The house or cabinet is 2% ft. from the floor and has two pairs
of steps, front and back.

The performer walks in the front and out the back to show that mirrors
are not used. One of the most deceptive features is as follows9 the
performer puts his arm thru the roof (at B & C) to show it is not double.
He then puts his arm thru little doors "D" at the side. BUT AS HE PUTS
HIS HAND IN ONE OF THE CONCEALED PERFORMERS STICKS HIS HAND OUT THE
OTHER SIDE SO THAT IT APPEARS TO BE THE PERFORMER'S. This makes it appear
that the wall is only a few inches wide while it is really sufficient to
conceal two performers. In the back are two curtains. This, the per-
former explains, is to shut off the lights so that a moving picture
could not be used. In reality these curtains are to hide the WIDTH,OF
THE DOUBLE WALLS as shown in fig. A. The entire cabinet may be made
of wood profile or even tin, inside painted black, outside as house
shingles etc. as explained. In building it must be made so it would
pack for traveling and of seasoned wood so it will not warp. The front
of the house is 46" wide, the back 58". It makes no difference if you
make it an inch higher, wider or deeper as it has nothing to do with, the
effect and anyone can build it. The house is on a steel frame but can
be easily made up.

As a finale, it could be made to represent a bridal chamber, inside with

a table, glasses, candelabra, etc. or with chairs and 3 or 4 people sit-
ting around a table playing cards. At the finish of the illusion, all
the people who are used, bow out of the cabinet, sp the audience may
know that all the shadows they have seen were really live people and
not dummies.
"WALKING THROUGH A SOLID BRICK WALL"
Sensational feat performed by Harry Houdini in the leading vaudeville
theatres throughout the country. Billed as the PRINCIPAL ATTRACTION in
all theatres. Opened at Hammersteins Victoria Theatre, New York City,
where it played for three weeks. Received a full page write-up with
colored illustrations in the special Magazine Supplement of the New
York World. Played at Maskelyne & Devants’ Home of Mystery in London,
and at the Empire and other leading theatres of the Moss Tour in England.

When the curtain rises the audience sees a large seamless cloth suspended
at back of stage. The audience is invited upon the stage to examine it
and a strong light is thrown on it from the back to prove there are no
flaws. It is then spread over the stage. The audience are next given
hammers and allowed to test the solidity of the wall,. The wall is then
wheeled to the center of the stage & placed edgewise so both sides can
be seen. Those of the audience upon the stage surround the wall. Small
screens are placed on each side of wall and hooked to the cross-pieces
 -19-
(see illustrations.) The performer passes through the wall and appears
on the other side as described. At the finish every thing may be examined
again as much as desired.

CONSTRUCTION: Required: A. steel girder or frame of the size and style

shown in the attached working drawings, bolted together at corners, and
cross pieces, A., and B., so it may be taken down for packing. A large
SEAMLESS cloth. Two three-fold screens of HEAVY wood covered with bur-
lap. Three foot trap in stage.. One correction of drawings should be
noted; the wheels on which wall is moved about are on the ends of a
3% ft. beam running at right-angles to bottom of wall, to give stabi-
lity and escape the trap.

The illusion is presented as described, a local brick-layers union or

a contractor being challenged to build the wall, on the opening night.
The cloth spread and the wall moved over center of trap. The screens
are placed around performer and their tops covered with a piece of
COMPO board to keep gallery from seeing inside. At a signal the trap
is lowered about 5 inches and the performer lays down face up and passes
himself under the wall to the other side. The weight of his body draws
the cloth so it sinks down into trap, (see illustration No. 4) Per-
former draws cloth up so it will not catch as trap is raised. He then
knocks board off top of screen to show he has succeeded and assistants
quickly remove screens and he springs out.

In dragging back the heavy screens they naturally draw up the slight
wrinkling or slack of the cloth.

The feat has caused much discussion securing unheard of attention from
the newspapers throughout the country. As noted at the head of this
explanation it was featured in the leading theatres of both America
and England playing two and three weeks at a time and presented by
H. Selbit and Harry Houdini who are both artists attained the highest
degree of celebrity known to magicp The judgement of these artists
and the managers of the theatres and the United Booking Office which
billed it throughout the country as an extraordinary attraction and
the acclaim with which it met from the American press is a good cri-
terion by which to judge the feat.
Trap can be concealed by using a rug laid over opening in trap and
cutting square hole in it size of trap. The square piece from center
is then tacked on top of trap.

THURSTON’S SCREEN MYSTERY ILLUSION

A very inexpensive and easy-to-work illusion. Big hit of Thurston’s
Show. A man from audience assists performer to tie a stage hand in
a bag, upon a platform raised several feet from the floor. A screen
is placed around man in bag. Performer induces man from audience to
put his hand in sleeve of a large red cloak, and then quickly puts the
coat on him, telling his that ’’anything is likely to happen to him now."
At this point they are interrupted by a voice from the bag on platform
 ?20-
crying, "Let me out! LET ME OUT J! Man in bag knocks the screen over
in his struggles to free himself. Performer rushes forward and unties
bag WHEN FROM OUT OF THE BAG COMES THE MAN FROM AUDIENCE, who snatches
his hat from stage and runs back to orchestra while party in red cloak
throws it off and is seen to be the assistant who was tied in the bag.
Performer uses two men of the same height and if practical of the same ,
general build. One is his assistant, dressed in the usual livery or . •
uniform of stage assistant and assists performer throughout his act.. ...
The other is attired as a member of the audience and is "planted" or
seated in the audience with the other spectators. When performer calls
for volunteers from the audience this man comes forward. If others come
also they are used to assist performer in some small or preliminary
effect, after which they are thanked and permitted to return to their
.seats. This leaves the "plant" or confederate on the stage. Performer
asks him to assist him in the effect and "garbs" him in the "Cloak of
Mystery", etc., etc., as in our description.
WORKING SECRET - Inside of screen No. 1 is a hook on which hangs a
duplicate red cloak (made in the order of a monk's cowl with a hood to .
go over the head) as shown in the illustration. An exact duplicate as
the one on the "plant". It is so placed that when it is opened and
placed around man tied up in bag, it is on the opposite side from the
audience and so invisible to them. Assistant in the meantime has got-
ten out of the bag, which is a simple matter as the bag is the usual
"Hindoo Sack" sold by all magical concerns for escape purposes, He
attires himself in the duplicate cloak. In the meantime the performer
with the assistance of the "Man from the audience" has been placing the
top "A", shown in blue-print, over the top in screen "B". Performer
opens out screen No. 2, taking the left side himself and requesting the
"plant" to take the right side. Performer then requests him to put the
screen up around the back of the other screen No. 1, on the platform.
The "plant" does so and our lower drawing shows him doing this, AS HE
PASSES BEHIND SCREEN NO. 1, HE CHANGES PLACES WITH THE ASSISTANT WHO
TAKES HOLD OF THE RIGHT HAND EDGE OF SCREEN NO. 2 IN EXACTLY THE SAME
MANNER so that as screen is slid around behind screen No. 1, HE COMES
OUT FROM THE OTHER SIDE. NATURALLY THE SPECTATORS TAKE HIM TO BE THE
"SAME MAN FROM THE AUDIENCE" WITH THE CLOAK ON that passed in at the ■
other side. It will be noticed that the man's back is toward the au-
dience all the time. This man (presumably the "man from the audience’’)
but really the assistant dressed in a similar cloak, walks over and
picks up the hat or cap which the plant carried with him when coming on
the stage and which he laid down to assist performer with the screen,
This further identifies him in the minds of the audience as the volunteer
from the audience, since that is the natural thing he would do. Meantime,
the real plant has quickly removed his cloak, stuffed it in at the bot-
tom of the sack, then stepped inside of the sack and pulled it over his
head (drawing string from inside the bag so that it appears tied as be-
fore). Meanwhile, the performer ."devils” the man in the cloak a bit by
telling him that the moment has arrived, the mystic hour is at hand
when the spirits take control and anything is liable to happen to him now.
Man in cloak appears to be •ver^Wph worried and starts to return to
audience and get away but perfprraßr holds him back. Suddenly there is
a commotion behind. The screen No.• 1, toppling over towards the audience
(pushed over by man in bag) and the . man in bag is seen struggling to get
out while a voice from within cries "LET ME OUT!" Performer appears to
be startled and says "something Is. the matter here.. Come help me get
this man out". Untying the bag OUT POPS THE HEAD OF THE "MAN FROM THE
AUDIENCE',' HAIR VERY MUCH RUMPLE? AN». APPEARING GREATLY FRIGHTENED. He
scrambles quickly out in an exited manner. Snatches hat out of the
hand of the cloaked man and runs off the stage, down into the audience
and out of the theatre. Man in the cloak throws it off and reveals
that he is the assistant. A striking and surprising climax that always
wins applause. A face mask may he used if desired to make the switch
more indectectable, if there is tog much difference between assistant
and stooge, but hood on the cloak will usually suffice.
"FLASH APPEARANCE ILLUSION**

This item is calculated more for use as a surprise "Opening", or per-

former's feature introduction at beginning of the performance immedi-
ately following the rise of the curtain. Apparatus which resembles a
sort of Oriental Gateway consists of platform and upright framework on
back of which is a spring roller curtain of the same material as back-
drop. Curtain is held down by a catch, and which when released by per-
former's foot causes the curtain to downward and sets off fire flash at
the same time. ■

SPECIFICATIONS - This illusion, consists of a platform 3 feet x 4 feet

6 inches AAA. Figure 1-2-3 with ornamental skirt about 6 inches high
to raise it a little off the floor. It is mounted on casters for
moving easily.
The gateway BB Figure 1-2-3 consists of two uprights of wood about 8
inches wide at the bottom and tapering to about 6 inches at the top.
Two cross bars CC Figure 1-2-0 are bolted to uprights at top, the top
bar merely is an ornament, but the lower one is used to conceal the
shade roller, DD Fig. 2-3. Ornamental Dragon can be sawed out of thin
3 ply wood and hooked in place at top if desired. Strips of wood,
EE Fig. 2-3 are placed back of uprights to act as braces. Ornamental
open-work grills or fences FF Fig1-2-3 are bolted to uprights of gate,
and are fastened to platform with loose pin hinges. Uprights of gate
are also fastened to platform with loose pin hinges.
Shade roller DD Fig. 2-3-4 has a curtain of same material as back drop,
having a width to cover the opening between the uprights and length
to reach from roller to floor of platform. Curtain has metal bar in
lower edge, having a hole which -engages With release bolt GGG Fig. 2-3-
4. Gateway, can be painted to suit taste—Chinese being very appropriate.
The flash pan H Fig. 3 can be theordinary kind used by photographers;
operated with Striker, having a small wire or thread running to curtain
release bolt, so that when the curtain is released, ft also sets off
 -22-
FLASH & SMOKE POWDER.

OPERATION -Apparatus sets center stage, several feet in front of back-

drop-lights half down. Performer1 is in position rear of curtain. At
the desired moment, the curtain is released by means of a foot-trip.
Flash fire & smoke ensues—and the performer walks forward. FULL LIGHTS
UP AND MUSIC STARTS.
TRANSPOSITION BOXES (AFTER LEROY)

A couple of small boxes about ‘24feet square are shown empty by open“
ing the front door and the hinged lid. One is suspended several feet
from stage and other placed on trestles and no contact with floor.or-
anything is effected at any time.

Performer gets inside lower box and on closing and opening door he has
disappeared. Lady now gets insi.de and changes to performer. Performer
fires shot at other box suspended in air when the doors fly open and
lady is revealed therein.
The illusion is accomplished with two ladies looking alike or dressed
the same—or two men assistants or a double for performer.
Cabinets or boxes may be built on either of two styles. The earlier
type had a division where the two center doors meet—at the point
shown in the first or left hand drawing. This division instead of be-
ing as shown there extended back a distance—the mirrors when folded
back form part of the sides of the boxes, will, when swung forward, meet
at the center post. These mirrors naturally reflect the SIDES of the
cabinet so that this reflection appears to be the Back of the cabinet
(principle used in many other illusions). The other or later type uses
a small narrow post as shown in left hand drawing—with the mirrors
secured to the sides with a sliding slot and pivot arrangement as shown
in drawing—so that the mirrors may be Pulled Forward by performer to
meet the post in the center. This allows the box to be made much smaller
or rather less DEEP from front to back.
Box is exhibited first on all sides—with front door open (mirrors
back).
Performer gets in, FROM THE TOP—and pulling the mirrors together the
box is opened at front by an assistant—and performer has vanished.
Lady assistant gets in—and changes to performer—who comes out the top
opening after a shot has been fired—in place of the lady who got into
the box. Box is immediately opened at the FRONT to show it is otherwise
empty of anyone, particularly the lady who just got into it.
The other or duplicate lady has been concealed in the second box (behind
the mirrors) when it was shown empty and hauled up in the air or suspen*-
ded. She has been quietly swinging back the mirrors in there.
 -23-
Therefore, a performer has only to fire a shot and the doors of the
upper box fly open—and she is revealed.
This concludes the illusion effectively.
The boxes must be made of a size to fit the persons to be used, as the
space is crowded and one of the important principles which aid the
effect is the illusion that the space is too small to contain two per-
sons at any time. Therefore no definite dimensions can be given which
would fit all performers—without destroying the effect by making the
boxes too large. To build this illusion make a rough framework of
crate and test the size required for the persons to be used. Enlarge
or reduce as required.
The metal type of mirrors are best as they will not break, Cloth to
match the cloth used to line the inner sides of the boxes must be
mounted on the back of the mirrors--so that when they are folded back
against the walls of the boxes the cloth will match the sides, and the
presence of the mirrors will be hidden. The door in the top is hinged
to open forward so that when it is raised to permit the performer to
come out in place of the girl (in the change from girl to performer) the
raised top door prevents the audience from seeing into the box thru the
top and seeing the girl concealed therein. This top door should be
made so it will only raise to an upright or vertical position—so that
it will not fall forward and lay level with the top and thus permit a
view in thru the top.

A cloth with a small floral or figured design is the best to line the
boxes with. The other details are shown in the drawings such as the
double walls of the boxes—the screw-head pivot, sliding plate grooves,
etc.
NEW IMPROVED "ELECTROCUTION" ILLUSION

A thin raised platform supporting an “Electric Chair " similar to that

used for electrocutions, around which is run a skeleton frame to hang
curtains on, is wheeled forward. Curtains are rolled down on back and
sides, making a curtain cabinet of it, and an assistant is strapped in
the chair ready for electrocution. The front curtain is rolled down
for an instant. The switch is thrown on. There is a flash of light
from within the cabinet, WHICH THROWS a clear shadow of the man on the
transparent front curtain, Instantly the front curtain flies up and
the man has disappeared. No traps used.
The construction of the cabinet is immaterial so far as its size and
shape are concerned so it may be constructed of a size to meet with
the convenience of the performer, his traveling requirements, etc. The
one illustrated is a good type to follow. . Refer to the illustration and
description while reading the following explanation. The back of the
chair is made of square rungs (really more like slats) running vertically.
 -24-
Each one is double, that is, one front half and back half being separate
and the front sections are fixed permanently to the chair at top and
bottom. The back sections are secured to a frame, or rather two frames
the slats at left of the center to one frame and those at right to an-
other. These frames are arranged to slide in grooves at the top and
bottom of the chair back. When the back halves of the slats are behind
the front halves the audience can see between them clear to the back
of the cabinet. But by sliding the back sections so that they appear
as in the lower drawings in blue print (plan view from above) the back
halves come between the front halves as shown, thus filling the other-
wise clear spaces and cutting off the view. But as the front surfaces
of these back slats are painted or covered with cloth to match the back
of the cabinet it appears from the front that one can still see clear
thru them to the back of the cabinet. The front halves or fixed por-
tions of the slats are painted gold tp emphasize the contrast. Under
the seat of the "Electric Chair" is a flap hinged to the back as shown
in upper drawing, so that it can drop down and close the space between
the floor and the seat of the chair. This flap is also covered with a
material to match the cloth at the back of the cabinet. The curtain
which is pulled down in front of cabinet is double and between the lay-
ers is sewn a piece of black felt cut out in the shape pf a silhouette
of the man in a seated position. This curtain is of white sheeting not
too thick, and rolls up on a spring roller under the drape at the top
of the cabinet shown in the catalog illustration.

WORKING: Man is placed in chair and the curtain pulled down in front.
Man immediately gets out of chair, releases the hook which holds the
flap under seat allowing it to fall into position shown on blue print,
slides together the sliding slats in chair-back and takes up a crouch-
ing position behind chair as in blue print. He fires a flash light or
pistol, the felt shape in front of cuttäin gives an excellent imitation
of his shadow on the white curtain, performer releases curtain in front
and it flies up revealing the cabinet apparently empty. If it is de-
s ired to reproduce man elsewhere the usual method of escape through an
opening in the backdrop with a board to bridge the space from cabinet
to back drop may be employed, man crawling under curtain before flash
is made in order not to let light show thru back. Flash light, in this
case, being placed on seat of chair (regular photographic flash) fired
by electric connection. A suggestion is to have this counter sunk in
seat covered by a piece of painted fibre while performer is seated and
which he lifts off When he leaves seat. The fastenings in this method
are simply brass bands or loops which are simply closed over perform-
er’s legs and hands as shown is catalog illustration but not fastened
in any way as the distance from the audience makes it impossible to see
whether they are fastened or not. In our more elaborate method fasten-
ings are provided which permit examination by a committee from the audi-
ence but still permit escape. However, most performers object to the
delay and simply present illusion as described above, as purely a
Stage Illusion.
 -25-
THE SPIDER GIRL ILLUSION

This illusion consists of a cabinet, mounted on legs, the front, con-

sisting of a frame through which the.interior of cabinet containing
the spider and web can be seen. The cabinet should be placed on a
platform of such height that top edge of mirror is at least as high
as sight line of spectators.
This type of Spidora is superior to other methods as cabinet can be
viewed from all pides. Illusion can be quickly taken apart for pack- -
ing by using loose pin hinges at joints. The turned section of legs
are fastened to the table section by means of floor flanges screwed to
square section of legs, and pipe nipples fastened in tops of legs.
This allows the legs to be quickly taken off for packing, Casters are
placed on legs so Illusion may be turned around.

The lower or table section of cabinet consists of a top frame A-A-

Fig. 1-2-3-6 fastened to table rim B-B Fig. 1-2-6. A bottom C-Fig.
1-2-6 is fastened solidly in this frame. The upper or square section
of legs D-D- Fig. 1-2-3-6 are blocks nailed to rim of table, and have
pipe flanges screwed to lower end to receive turned legs. Mouldings
E-E are nailed to table rim to reduce the apparent thickness. An
inside frame F-F Fig. 1-2-3-6 is nailed to table top frame, and to
top of this frame, the false bottom G-Fig. 1-2-3-6 is fastened. The
sides and back H-Fig. 1-2-3 consists of framed in panels, while the
front I-Fig, 1-2-3-6 consists of an open frame. Front, sides and
back panels are fastened to table tops frame with loose pin hinges.
The top J-Fig, 1-2-6 consists of a top frame, having a thin panel on
lower side. This frame is placed in a cornice frame %'* up from bottom
edge. This forms ledge which fits down over sides of cabinet and holds
sides of cabinet in place without fastening.
An inner or false back K-Fig. 2-3 consists of a frame haying a thin
panel on front. This false back is placed in exact line with bottom
edge of mirror L-Fig. 2-3 to carry out the proper line of reflection.
It is hinged at top so it may be opened, when assistant enters
through back of cabinet. Mirror L-Fig. 2-3-4 fits between side walls
of cabinet, and from false bottom G- upward at an angle of 45 as shown
in Fig. 2. Mirror has a hole cut in top edge as shown in Fig. 4 and
is bound around edges with narrow strips of metal which hold wood back-
ing and mirror together. False inner panels M-M- Fig. 3 form ledge
against which mirror rests. These also form stops for false back.
Interior of cabinet, top, false back, false sides and bottom are cov-
ered with cloth, plush or velvet being the best. Cloth used should
be of such cplor, that Spider and web will show in sharp contrast.
Rows of electric lamps N-N- Fig» 1-2-3 are placed back of front frame
to light interior of cabinet.
 -26-
The position of Spider and Web are shown in Fig. 1-2 with details in
Fig. 5. The web consists of an outside frame made of about 3/8 .’’
steel rod with the proper cross and diagonals made of about 1/4” rod
while the web proper is of 3/16" rods. Diagonal and press rods are
soldered to outside frame and to a central metal plate O-Fig. 5 which
is the same general shape as spider’s body, but slightly smaller.
The cross wire P-P Fig. 5 has a bend in center to fit around neck and
must be placed so as to come directly in front of upper edge of mirror.
The web rods are soldered to diagonal and cross rods as shown Fig. 5.
The spider’’sr, "U
body. R-Fig. 5 consists of a flat board cut to proper
-- C____________________ -x- 1_______________________ J —-x. _________
shape,
properly padded and covered on top side with cloth of a color and tex-
ture to most nearly represent a spider’s body. Body is hooked to cen-
tral metal plate so it can be easily lifted off, so assistant can push
head through opening provided. After assistant's head is through open-
ing, body of spider is placed down close to neck. Legs of spider are
made of rubber having metal rod inserted through center. Metal rods
are spidered to central metal plate and to outside web frame. Legs are
tapered to give best effect. Web work is painted to look like spider
web. Aluminum or light grey gives good effect.

Assistant enters cabinet through back, the back and false back being
opened so she may take position shown in Fig. 2. After she places
head through opening in web, spider’s body is brought down close to
back of neck. Back of cabinet is closed, lamps are lighted and
Illusion is ready.

In painting this Illusion, would suggest that table section is painted

in strong contrast to rest of cabinet to reduce as much as possible the
apparent thickness of lower section.
LATTICE SCREEN MYSTERY

Girl stands on a thin pedestal, or on a table, and around her is placed

a latticed spreen made of wooden slats, thru the opening of which she
can be plainly seen. A pistol is fired and screen tips over and falls
flat on stage. Girl is seen to disappear while it is falling. This
illusion is very effective.

In order to get the best effect, the girl should either wear a flower-
ed dress of brilliant colors cut somewhat on the lines of a kimona or
should don a flowered kimona before mounting the platform, This kimona
is made so the entire front is separate from the back. The two half
portions are held together simply by a series of eyes (from hook-eye
sets) sewed along the edges about two inches apart or rather at inter-
vals of about two inches'and a long, horse-hair passed thru the entire
series on the left side and one on the right side thus linking the
eyes sewed along the edges of the front section to those sewed along
the edges of the back section. By pulling these out the sections can
be separated instantly.
 -27-
Screen is made of lattice work (wood) painted a neutral gray and made
so that it can open out just so far as shown in the catalog illustra-
tion, but no further - that is, so it cannot be opened out enough to
form a right-angle with the front. This is so that when screen falls
over, it will be certain to collapse and fall flat. Back of the front
of kimona is lined with material to match the neutral gray of the
lattice work.

WORKING: Girl mounts platform and screen is placed around her as in

the illustration and a cloth thrown over the upper portion only. The
minute screen is placed in front, girl draws out the horsehairs and
flattens herself against the front of screen and fastens the front of
kimona to the front fold of the screen by means of a series of little
fish-hooks which are arranged along the inner-side of the screen about
shoulder height - at the same time the cloth is being thrown over the
top of screen as illustrated. While performer and assistant are arrang-
ing the cloth evenly over the top portion of screen (cloth being thrown
over unevenly at first in order to provide opportunity for this action)
the girl makes her escape as explained below. Performer fires at
screen and it falls backward or forward as preferred, collapsing as it
falls. This is easily accomplished by either a thread connected to
cloth near an eyelet in the cloth near the portion that will fall about
over the top edge of the front of the screen and having a metal screw-
hook on the top of the edge of the screen which is linked thru the eye-
let so that by pulling thread the screen can be toppled over — or by
. ../having the side folds of the screen tapered down shorter than the front
of middle fold when setting screen up resting the back edges on a prop
composed of a piece of wood two inches wide and the width of the plat-
form hinged to the back edge of the platform so that it can be swung
up into form a two inch rest for the screen. This being arranged to
fall flat by pulling a thread connected to it, the screen is bound to
fall over backward.

GETAWAY FOR GIRL: If platform is made low (8” from floor) a spring
hinged trap swinging downward, hinged at front edge, is the best. In
this case the entire bottom including under surface of trap should be
covered with cloth to match the rug placed under the platform, and the
stage trap operated thru the rug. Place one set of low steps at right
front corner of platform and one at left corner on which you and assis-
tant (or stage hand) mount while throwing cloth on screen and arrang-
ing it evenly. This throws the space under platform in shadow and
prevents audience from seeing under platform at the sides. As the
underside of trap matches the rug or floor covering when it is lowered,
it is not distinguishable, and it covers the girl while she is lower-
ing herself thru trap. For high platform a pair of improved steps
as shown in blueprint drawings. The openwork design at sides of steps
is backed with black velvet so that they cannot be seen thru while the
steps are so wide (front to back and tilted at a sharp downward angle)
so that they very nearly overlap each other as viewed from the front
and therefore leave very little space between them to see thru. This
space is covered by cloth backing of the same color as the steps are
painted, preferably dark green or blue, but of a much darker shade —
 -28-
approaching black. This gives the audience the impression that they
can see right thru between the steps. The steps are covered with
corrugated rubber to enable performer to mount them easily in spite of
their slant. The backing is shown as being mounted on a shade roller
of the spring type. This enables the steps to be left near the foot-
lights with the shade rolled up so that audience can actually see thru
the steps. Then as the steps are swung around side to audience and
being moved back toward the platform by assistant, he pulls the shade
up by means of a convenient cord connected to the shade and running
over a pully under the top of steps. The steps have a trap operating
downward, located in the top as shown in blueprint. This is brought
under the platform where the screen rests while performer is mounting
the steps, to throw cloth over top of screen. In this method the trap
in platform under screen operated UPWARD so it will not strike the
steps. The trap in top of the steps can be dispensed with if desired
and girl can lower herself to floor and then get inside the steps, under
cover of the steps. The steps have a floor within to support the girl,
while they are being moved away from screen platform, and toward back
drop or over a stage trap by means of which she makes her final escape.
ART ILLUS IA. A SURPRISE NOVELTY
Performer makes a quick sketch of himself on a raised easel (3 feet
from floor) by cutting away part of the white paper so that the black
drawing board shows through; showing a figure in black and white even-
ing dress. Suddenly the sketch comes to life and walks forward when
it is found to be the performer himself, A surprising and unexpected
effect.

The easel is made as shown, with a roller blind operated on a spring

roller from right to left or the opposite direction as preferred, The
blind is of dead black non-gloss cloth, Refer to illustration and
note the shape that is shown as cut-away on the paper. This shape is
cut out on a piece of Compo Board or Beaver Board, made large enough
to permit the performer to pass thru. This forms the FRONT of easel
and over which the paper is laid. The white parts in the center white
shirt, etc. are pieces of paper cut to represent the shirt bosom,
necktie and collar which have been pasted to cloth and then cut out,
and this is SEWED ON TO THE BLACK CLOTH BLIND, so that it will not be
scraped off later. This easel is wheeled out on the stage with a
large sheet of paper laid over the front and secured around edges by
thumb tacks. Trick steps are backed up to the easel and placed as
illustrated — AND WHILE ASSISTANT IS AT ONE SIDE AND PERFORMER AT
THE OTHER to cover the movement with their bodies assistant pulls up
the small roller shade located in base of steps at the back — which
shade matches the backdrop or curtain, and the carpet which may be of
any dark color, preferably OLIVE or DARK BLUE» At the same time he
drops the little flap shown in blueprint at the base of the frame of
the easel which is also covered with a cloth to match background or
curtain. An ordinary fourfold screen is placed AT ONE SIDE and touch-
ing the easel and behind this is placed a chair of the familiar type
known as the STEP-LADDER CHAIR (which can be converted into a step
 -29-
ladder at will). Performer appears carrying a pot of paint, a knife
and a LONG artist’s smock or dressing gown which he deposits on the
chair back of screen. He then dons the dressing gown or smock and a
tam-o-shanter as worn by artists, and mounts the steps and with the
knife cuts out the paper in the shape corresponding to the cut-out in
the Compo Board under it, which is easy as the knife follows the edges.
Performer tears away the cut paper and picking up a brush goes for the
pot of paipts - stepping behind the screen for a moment for them.
AT WHICH INSTANT HE CHANGES FOR AN ASSISTANT who is costumed in exact-
ly the same style of smock and tam-o-shanter and who BACKS out from
the screen without showing his face and mounting the steps. He paints
the face on the curtain, marking in eyes and features. Meanwhile,
performer quickly removes costume behind screen and converting the
chair into a step ladder mounts it and stands directly behind the
roller curtain or blind. As the shade in STEPS (and the FIAP under
frame) match background, it appears that the audience can see right
thru to backstage so that they pannot see any way for a performer to
get behind the paper cut-out. As assistant garbed to represent per-
former (and who the audience takes to be the performer) completes
the painting he walks off stage. Performer releases catch allowing
blind to shoot away carrying with it the white parts representing
shirt bosom, etc. and revealing himself in the cut-out thru which he
steps. The effect is very much of a surprise as it appears that.the
sketch is ’’come to life” and stepped put, while there is apparently
no way for performer to have gotten behind the easel.

Assistant can either be already behind the screen or may get there
after screen is set up by means of a stage trap. If possible have
the illusion in position beforehand;with steps in place, and flap
down already.

To simplify, use black vest on dress suit, and have hands closer to
sides than shown in illustration so as to save cutting out.hands
separately.

FLAG AND PEDESTAL ILLUSION

Performer stands on a small Pedestal waving a flag over his head.

Assistants place a screen around him and while he is still waving
flag they pick the screen up and carry it forward allowing it to
tip forward and fall flat to the floor. Performer has vanished and
may appear from the front of house or in another illusion. No steps
are used to get upon the pedestal. PEDESTAL IS LESS THAN HALF THE
WIDTH OF PERFORMER’S BODY.
This illusion is an adaption from an illusion presented by a well
known performer, with the addition of certain features, such as the
Flag Waving device, etc., deemed to be additional aid to the oper-
ation; and presentation.
 -30-
The effect is made possible by the construction, of the pedestal,
which appears from the front as in Fig. 3, as indicated by the plan
drawing in Fig. 1. The side pieces "A” and II"A" are hinged at points
"B" and "B“; also at "D” and ”0?, with spring hinges. The BACK
sections "C" and "C" may be either of panel board or may be merely
metal rods hinged at points "0" and ”DV. The pedestal thereby may
open and shut like a book. It is plainly too small to allow the
passage of a human body thru it, as viewed from the front when closed—
it can be caused to open like a book at the back so the one on pedes-
tal can drop quietly thru the pedestal and thru a trap in stage or
other exit. A cord may be attached at point indicated in Fig. 1, and
Fig. 2 (a strong fishing cord which has great strength) and thru a
screw-eye in stage floor directly.behind pedestal and thence off to
back of side of stage -- or pedestal may be opened by assistant under
stage by means of a rod with hook on end, to pull back the sections
"C" and "C".
WORKING: Performer or assistant mounts pedestal. Two assistants bring
a screen and place it around person on pedestal in position shown in
Fig. 3. A flag is handed up to party behind screen who apparently
starts waving it — but he really inserts it in the socket of the de-
vice "E", shown in Fig, 4, and sets the pendulum swinging«, This leaves
the performer free and the pedestal device having been opened at this
moment, he PUTS HIS HANDS OVER HIS HEAD to bring his shoulders close
to his head and made his body narrower and drops thru the pedestal
and thru the stage trap. Pedestal is allowed to immediately close,
and performer runs around to front of house. The flag, of course .
continues to wave, giving the impression that performer is still on
pedestal. Assistants in meantime have lifted screen from pedestal,
carrying it toward footlights in the same vertical position and with
flag still waving, which gives the impression performer is still behind
it or inside of it. When they have gotten it near footlights - they
CLOSE THE SCREEN FIAT, while at same time allowing it to TIP FORWARD —
and let it fall flat on the stage.
By the time audience realized that the performer must have vanished,
he is ready to call "Here I am" and come running up from a box or be-
hind audience.
POINTS: (1) The pedestal may be constructed with a front shaped as
if it were an eight-sided pedestal (as shown in Fig. 1 and Fig. 2)
or may be rounded in an oval shape (as in Fig. 3, to show another
appearance of pedestal). Either of these forms will appear smaller
than they actually are (on the well known perspective principle used
in stage illusions that rounded and angled objects appear smaller)
than if cut square at front.

(2) The momentary opening of the pedestal for a few seconds is never
noticed because at this time the two assistants are standing at EITHER
SIDE OF THE FRONT of the pedestal and their legs serve to provide a
shield — but even without this, the fact that at this moment the flag
has just been handed up and is starting to be waved over top CAUSE ALL
 -31-
EYES TO BE DIRECTED UPWARD TO THE TOP OF THE SCREEN where all visible
action is taking place.
(3) Assistants should look up at the top where the flag is, and watch
the flag, which serves to direct attention that way. Then when lift-
ing off the screen they should take it carefully and carry it as if
struggling under the weight of the performer, to give the impression
that he is still inside the screen — continuing, of course, to look
up at the flag waving at top.
(4) Base of pedestal is cut away at back (in a triangler cut) to allow
opening of the sides "A" & "A". Height of pedestal should be about 33
inches from floor. Screen about 6 ft. 8 inches high and made of profile,
covered with colored burlap or cretone, "glued" on with shellac, to the
wood.

(5) Size of either parts indicated by scale in Figure 1, but may be

adjusted to size of person used in illusion.

(6) It is not necessary to have two assistants on stage to handle screen

as one may be a stage hand or usher, who can easily carry one side of
screen under instructions of the magician’s assistant.
THE PRIZE WINNING "WELL I'LL BE - - ILLUSION.
The effect of this most astonishing illusion in improved form is as
follows: A lady stands on a bare table and is covered with a cloth
which is draped over her head and shoulders in such a way that it shows
the outlines of her form. Performer suddenly shouts "GO!" — or fires
a revolver when the cloth covered form suddenly collapses showing that
the lady has disappeared. "Where are you?", he calls. "Here I am",
replies a voice from the back of the orchestra and the lady comes runs-
ning down thru the aisle to the stage "WELL I'LL BE —-—!" exclaimes
the performer, which being just the expression that the spectators are
voicing, always brings a good round of applause.
SECRET & CONSTRUCTION: A false "Form" to represent the girl when covered
with the cloth is folded up inside the thin looking table top, which may
be built on the "DIDA" or perspective principle so the front is only half
as deep as the back (5 to 6 inches). It is composed of a head piece "6"
and shoulder pieces "B" on a sort of lazy tongs so that pulling cord "A"
the roller or moveable end of the tongs is drawn toward the permanently
fixed end causing the Form to rise up. As the headpiece rises it push-
es the shoulder pieces "B" (which fold over on top of it when the Form
lies collapsed in the table) up until they fall out at sides as shown
in upper left drawing. They are hinged only one way so they can fall
just so far and no more, to represent the shoulders of the girl when
draped with the cloth.

WORKING: Girl stjinds on table where the form will rise. Performer takes
a position behing her with his arms reaching around her from back and
holds the cloth about waist height. During this momentary hesitation
 -32-
before bringing the cloth up over her head and trap door in table top "D”
is opened either by girl or performer with the foot —- or by having an
assistant off stage pull a cord. Performer then raises the cloth up and
over her head at which moment the Form is raised so the cloth falls over
it;- while the girl 'ducks’ down — so it appears that she had been cover-'
ed. Girl crawls under and between performers legs and either off a plank
which is passed thru the back drop by a stage hand (a picture painted on
back drop conceals the edges of this trap effectively) —- or else goes
down inside the hollow steps which she used to get upon the table. From
there she may go right thru a trap in stage or the steps may be wheeled
off stage out of the way so she can get out and run around to back of
audience ready for appearance. When shot is fired cord "A" is released
and the form drops into the table the projection on back of headpiece "C"
(see upper left drawing) striking the projection "E" closing the door "D"
over it as it falls. Cloth may be shipped away, leaving only the BARE
TABLE TOP.

This is a wonderfully clever device as there is noi other way to get a

form away so quickly in the center of the stage. 1The illusion may be
worked now by using our IMPROVED .’’SEE THRU" steps, Plans of these novel
steps which audience can see right thru YET ENABLE A PERFECT GETAWAY.
A new automatic device or attachment which automatically RAISES AND LOWERS
THE FORM without the use of any assistants, being operated by the heel
of the foot SURE EVERY TIME.

Details: Movable end on shaft with rollers "M" at ends prevents tipping
of Form is our very latest improvement. Guide "G" limits the rise of
Form to the exact height. To prevent friction on guide small rollers "N"
which touch only under side of Guide are used. All rollers run on felt
covered beds, to eliminate sound. Trapdoor in table top concealed by
checker board design of the table top, edges meeting.
IMPROVED RELEASE FOR "WELL I’LL BE D - - i ii

Cord to raise form is passed through the crank and guides shown in blue
prints. Crank is screwed to a square piece cut away from the top of
the. table;..-which is hinged to the edge as shown, with a strong spring
hinge. This serves to keep the crank pulled upwards so that the cord
or cable is pinched between the guides and crank. Hole in crank is
narrowed to a point at lower end and teeth cut into it with a file,
but at the upper end it is wider and smooth so cord may run freely at
the upper side of opening only. Guides may also be narrowed and teethed
out at the upper edge and smoothed at the lower. With crank in its normal
position cord is securely gripped by this device — but by stepping on the
square hinged piece the cord is brought into a straight line and the teeth
disengaged from it and only the smooth surface of the holes touch it so
that it may run smoothly. The cord leads off and down the leg of table
through a hole in stage and is attached to a sand-bag of sufficient weigh*
to lift the form from table top, when the’ cord is released. This compleL...
es the lifting arrangement.
 -33-
After performer has thrown cloth over form and has stepped down from
table and desires to vanish girl as represented by the cloth-covered
form, he picks up a revolver to which a heavy thread is attached, which
thread leads to the pin shown in the drawing and locks two tubes connect-
ed to two ends of the cord or cable. By pulling on this thread at same
time revolver is fired, the two tubes are released from each other thus
making a break in the cable — which frees the form from the weight with
the result that the form collapses into table as explained in the illusion
description.
NEW METHOD IMPROVED GLASS LINED TRUNK
Girl is first concealed within trunk when it is brought on stage and
turned about to show all sides. While the trunk is being unlocked and
the upper tray being lifted out, she has ample time to pass thru back
and out onto the little platform, pushing out the two, as the platform
swings down as shown in the drawings. The flap No. 2 falls closed
behind her as she passes out the back. Here she remains concealed while
the front flap No. 1 is being lowered and the interior of trunk being
shown to audience. The lid of the trunk being raised, it hides her from
persons in the gallery who otherwise might see over the top of trunk.
Plates of glass are now placed as follows: One laid in bottom of trunk,
one along each side, one in front and then a special plate which is 5 1/2
to 4 inches narrower than the front plate is placed in the back. This
fact is not noticeable, however, and to further this, the glass is BROUGHT
TO PERFORMER EDGE TOWARD AUDIENCE and performer places it in position qui-
ckly as possible. ' The plates of glass are held in position by "L" shaped
pieces of metal about 1 inch wide. The tray is next laid in top of trunk,
the front Flap No. 1 closed so that the girl has plenty of opportunity to
get back within the trunk again while the last plate of glass is being
brought forward, sounded, etc., by performer and laid in the tray. The
little back perform and the two back doors being hinged with spring
hinges, the platform Folds up flat against the back, and the back doors
fold over it, so soon as the girl's weight is removed from the little
platform. She passes under Flap No. 2 and allows it to fall back into
place, as it also is hinged to top with spring hinges.
The trunk should be painted with black and white stripes (wide stripes)
running vertically — or of some other light and dark color combination.
On outside this serves to completely conceal the openings of the back
doors.

Trunk should be from 40 to 45 inches in length according to size of girl

to be used.
 -34-
MENETEKEL MYSTERY ACT OR HANDWRITING ILLUSION.
On a skeleton easel is hung a plain board to which sheets of paper are
tacked. Balls dipped in ink are placed on the ledge at bottom and on
command from performer rise and write answers to questions asked by
audience. Papers may be passed out and answers to questions written by
audience are visibly written in full view by this modern “Writing on the
wall. " A tremendous sensation can be worked up with this.
The instructions for this feat are made elastic so that the performer is
not limited to wood or metal for construction, but may use both or either.

The skeleton frame-work easel is brought forward and put into place or
may be in position beforehand. A plain wooden frame over which black
cloth has been streched and a second frame with sheets of paper stretched
tightly and secured evenly with thumb tacks are used.
WORKING:
Performer brings forward the two frames, places the paper covered one
against the FOOT of the easel leaning it there temporarily — while he
exhibits the CLOTH COVERED FRAME back and front calling attention to its
simplicity. While this is going on a boy or assistant is concealed by
the PAPER COVERED FRAME resting against base of easel. Performer having
finished exhibiting cloth frame, now places this cloth covered frame on
the easel in position shown in first sketch (A representing the cloth
covered frame) and at the same instant the boy lifts himself up into
the back supports of the easel as indicated in first drawing — while
performer immediately picks up the remaining frame "B" -- covered with
paper and exhibits it likewise, then places it on the easel ON TOP of
frame A. The cork balls, used, contain a small steel ball and only a
very light coating of cork on the outside. They are dipped into a bowl
of ink held by the performer, and by means of a metal tong picked up and
placed against the paper near the upper left corner of frame. The ball
begins to move about and write answers to questions, names, and remarks
of brief nature. When ink on balls is used up they drop off and performer
places a fresh ball on paper.
SECRET:
The boy or assistant has an electromagnet, with a plug connection. At
the point marked Opening "H” in the framework of the easel is a similar
connection plug attached to wires leading down through the hollow tubing
of the easel leg and off stage to an electric socket or through stage
floor to a connection. Boy connects the electromagnet to plug wires
and when performer places one of the steel cork covered balls against
the paper at the left hand upper corner (at a point agreed upon and
marked on each sheet of paper lightly with .pencil so only the performer
can see it — and a similar point marked on the back of the cloth frame
so that boy can place his magnet in the exact position required) the
boy brings magnet on the other .-side of frame and controls it perfectly.
As he moves the magnet about the ball will follow perfectly on the other
 -35-
side of paper leaving a trail of ink, thus writing out words as desired.
The boy writes BACKWARDS on his side so as to produce the writing in re-
verse on the opposite side of frames. As the writing is large this
requires only a few minutes practice to acquire the ability.
POINTS: When the ink on a ball gives out the performer signals to his
boy by a snap of his finger on his cuff, Boy draws magnet straight back
from frame so that the attraction is reduced and the ball drops down
either into a trough placed under the frame or to the floor (if on floor
place a cloth pad there to prevent any sound due to balls’ weight) and
performer puts a fresh ball into place, As each paper is used up it is
either torn off so the fresh one may be used, that lies under it or
swung back over top of easel still attached to frame. As the last one
is reached lift the paper covered frame off and place it leaning against
easel base (boy escaping below stage as he came) then lift off cloth
frame showing it both sides and dropping it flat on floor, then pick up
remaining frame and tear off paper.
Where it is not desirable to use trap in stage floor it may be dispensed
with by having easel first shown at rear of stage about .four feet in
front of the back scene or back curtain. Assistant then comes through
this while the exhibiting of the frames is taking place, and seats him-
self on the cross-bars of easel as shown in drawing, behind the frame
"A", which has just been put in position. While performer is picking
up remaining frame "B" and exhibiting the sheets of paper on it by
turning them over one by one like a book, his assistants move the easel
forward nearer center of stage, and connect up a lead in wire to the
easel at point "H” (presumably so that the electric bulbs in shield "C"
can light up the surface of paper and show the writing) but also to
provide current for the electro-magnet. Light is turned on to lend
substance to this idea.

Magnet can be made up for you by any capable electrician or you can wind
it yourself. Take a one-half inch to three quarter inch piece of SOFT
iron six inches long, wrap in with a layer of celluloid, sheet rubber
or fibre or thinly wind insulated wire, up to about one half inch of
the ends. Use about three to four pounds of wire. Wrap outside with
several layers of adhesive tape or other insulating material, and finish
one end with a piece of smooth celluloid or Other thin insulating materi-
al so that it will SLIDE smoothly over the back of cloth frame when writ-
ing. This will operate on ordinary 100 to 110 direct current. If you
want to use dry battery current, make the cord one-half to three-quarter
inch diametre and about two inches longer, winding with 22 guage wire
until 15 layers have been placed on. This will work on 10 dry cell
batteries.

Balls may also be made up of a steel ball neatly covered with an even
layer of absorbent cotton pressed down to 1/8” thick and wound in all
directions with fine silk thread to.hold it on. This will hold much
more ink, but must be made up every few performances, as it is not so
permanent as the cork covered balls.
 -36-
Another form of this illusion is where the frame on which paper is tacked
is really a wooden box containing a series of 20 to 40 small electro-
magnets (according to size of paper used) placed close together. In this
case the frame or box can be suspended on cords (concealing wires) and
current is switched from magnet to magnet with a "sign writing" control,
causing the ball to be drawn from place to place over magnets as current
is switched into them. A costly cumbersome method that may go wrong at
any time.
"THE LATEST SWORD CABINET MYSTERY"
This Illusion consists of a cabinet Fig. -1 mounted oik. a 4 leg table.
The sides, front, back and top of cabinet are made of framed panels,
fastened together and to table top frame with loose pin hinges so as
to take apart for packing. The top of cabinet is hinged at back and raises
up. Two strips of "L" shaped metal are screwed to opposite sides of top.
When top is down in place these strips form stops for sides of box, and
keep them from spreading apart. A wood stop is screwed underneath the
front edge of top, and forms stop to keep sides from pressing in, Chains
or stops should be placed on top so that it will stop in an upright positi-
on when raised. The front door is hinged to side and swings outward.
The table section consists of a top frame G-G-Fig.-l fastened to table
rim. A bottom - I - Fig. 1 is set in this frame, and to this bottom
the .4 legs J-J-Fig. 1 are fastened by means of floor flanges and pipe
nipples. This allows legs to be taken off. The square section of legs
-K-K-Fig. -1 are blocks nailed to rim of table to give a better effect.
Mouldings are nailed to table rim to reduce the apparent thickness. An
inside frame M-M-Fig 1 is nailed to table top frame, and on this frame
the hinged bottom trap N-Fig -1 is fastened. Small filler strips O-0°Fig
-1 are placed at sides and front of trap. These reduce the size of trap,
so that it can be raised when mirrors are swung to sides of cabinet.
The mirrors are plate glass and are mounted oira wood backing, and are
secured to backing by small strips of metal. It will be noticed that where
the mirrors came together at center pole the backing is beveled. This
allows mirrors to be brought closer together, so that when spear is pushed
down in front of them, this black line will not show. Mirrors are hinged
at back as shown andcmiist be hinged to side walls of cabinet, so that
when brought together they form the correct angle to give proper re-
flection. Mirrors are of such height that they will go between top of
cabinet when it is down, and bottom trap, a slight margin being allowed
so that they will swing easily.

When mirrors are -opened against sides of cabinet they, are held by small
hooks until released by assistant. A hook is also placed on back of
mirrors, so that when closed they can be hooked together. A hole is
bored through the top, bottom trap, and bottom of cabinet for spear.
This spear hides the metal bound edge of mirrors, when mirrors are
together.
•i ‘r-l
■ r
 -37-
The approximate size of slots for swords is shown. Slots are placed in
top, back, and sides, and can be placed in front door, but if so placed,
swords will have to be removed before door can be opened. No exact
place for swords can be given as this is a matter for each individual.
However, we suggest, that no wide spaces are left without swords, and
as many swords as possible be placed so as to be reflected in mirrors.
These reflections appear as if swords are coming through back, so it
is well if several swords are pushed through back, they of course can
not come through to front as mirrors are in the way. Swords can be
pushed in at a sharp angle in back, there being plenty of room for swords
past arms and neck of assistant.
The interior of cabinet should be either painted black or can be lined
with dark cloth. If figured cloth is used it will have to be carefully
matched to give proper reflection. The outside of cabinet can be paint-
ed as desired. Suggest dark rails with lighter panels, as this reduces
the apparent size which is very important.
OPERATION: In presenting Illusion - mirrors are at first hooked to sides
of cabinet, and as backs of mirrors are finished the same as sides they
are not noticed. Top door is raised. Front door and top door dropped
down, assistant raises bottom trap and takes sitting position. Mirrors
are unhooked from sides and brought together. Spear is first run down
by performer, and then swords as desired. Front door may now be opened,
and cabinet is apparently empty.

THREE UNIVERSAL CABINET PRODUCTIONS

The outstanding features of these cabinets are that all three may be put
together in full view of the audience (this always has a convincing
effect on the spectators) bare frame work on a well raised platform.
All can be presented without employing traps, mirrors, steps, false plat-
forms, etc., where the conditions eliminate such aids.
EFFECTS: To avoid repetition it is well to state that the effect of all
three are about as follows, A bare platform with four uprights support-
ing a thin cover or roof is first shown and then side and back sections
are brought out on an easel or truck. These sections are secured to the
frame work — then a roller blind or curtain attached to the front edge
of the roof is pulled down thus completing it. While the roller curtain
is being fastened to the front edge of the cabinet floor, a man or girl
brushes the curtain aside and springs out of the cabinet making an
appearance in a dramatic manner. The following are the explanations of
the WORKING METHODS OF EACH.

No. 1. PRIMARY PRODUCTION CABINET. SECTIONS BROUGHT IN ON LARGE EASEL

of type shown in Fig. 1 wheeled in with back toward audience, then
turned around and leaned up against back flat of scene (braced to sup-
port weight). This allows audience to see both sides of the sections.
Sections are in a horizontal position which necessitates drawing them
off and swinging it end up (vertically) as in Fig. 1. This is done in
 -38-
front of a curtained doorway in scene (Fig. 2). Just the moment the
section, is. righted vertically, man steps quickly from behind doorway and
mounts on back of panel, and at the same instant performer and assistant
pick up section and carrying it to cabinet frame secure it thereto. This
is the BACK section. However before this section is put on one of the
side sections has already been secured to the frame, then the back, and
last the remaining side section, so that the BACK section will neither be
the first or last, either of which would center too much attention on it.
This back section is paneled and the panel it will be noticed per draw-
ing is pivoted (on ball bearings) so that it can be revolved in the panel
frame. The back has a set of handles and foot rests to enable performer
to cling thereto comfortably, all of which are shown in Fig. 2. A drop
bolt or hook with screw-eye to keep panel from revolving before proper
time, placed around waist high.on panel, at left side. A wire is se-
cured to top edge in the manner shown in drawings (so that it is de-
tachable) leads up and over an overhead pulley and secured to a sand
bag of sufficient weight to counter-balance the weight of the man and
about 14 lbs. over according to friction on pulley. This weight is
lifted off its rest soon after man mounts back of panel and it enables
the performer or assistant to carry the back section so easily that the
audience would never suspect that the man was concealed thereon, even
should such an idea be suggested to them.
For the appearance, man on back releases catch, revolves the panel
carrying himself inside cabinet and bursts thru the front curtain, making
his appearance as dramatic as possible.
FASTENINGS to secure sections to frame may be either a hook and ring-
screw system or "Thumb-buttoms" on frame passed thru notches or holes in
the sections. To facilitate carrying sections handles may be screwed on
the back of each one as follows: one about 18" from bottom and other
about 24” higher up, performer at one side and assistant at other is a
goo^ way to carry section.
SECOND METHOD CABINET (HULL'S)
In ^his cabinet a novel idea is introduced. The panels in this case are
ma,de of paper stretched over what appear to-be WOOD frames — but are
really of SQUARE STEEL or IRON TUBING. They are braced with cross pieces
(running laterally) one about 24” from the top - the other about 18”
from the bottom. All parts are painted and "Grained” so as to appear
to be oak wood. The wire counter-balance the weight of the man or girl
to be produced is attached to the persons' body — similar to the familiar
manner used for comedy acrobatic acts. The person wearing a sash with a
bow in back or a man with a Spanish sash about waist to conceal wire
connection (under bow or rosette) the wire being dulled with acid to pre-
vent reflection, the person wearing a leather harness under clothes.
Performer has a party either already on the back of one of the three
panels brought out on a stage truck, or loads him on from a stage trap as
shown in Fig. 4 after the truck carrying the panels (Fig. 3) has been
wheeled out and turned about so that back can be shown. Person is swung
along behind the panel supported by the wiring, and holding on to the
 -39-
i
crosspieces of the panel being carried forward by the assistants, and
placed on the platform of the cabinet. Another method is to take the
first panel off the truck by pulling it off to the right — and carrying
it forward place it on the platform of cabinet so as to form the SIDE
of cabinet. Then draw off the next panel, also TO THE SIDE - and as this
is drawn slowly off like the other, the person to be produced is swung
along and over behind it (by the wiring) and over behind the one 'which is
being DRAWN OFF! Thus he swings over or makes a change-oyer-palm move
under cover of drawing off the second panel, in exactly the same manner
as before, He grips the crosspieces of the new panel and travels along
behind it. The person to be produced releases himself from the wiring
once he is in place behind the back wall of the cabinet, He reaches
down and pulls up the corner of the "PAPER" which is really a piece of
window shade material on which paper has been pasted on both front and
back, to make it look like paper only (each panel is prepared the same
way except back which is merely secured at the right side and lower
corner by a large snap button (as used for leather and harness equipment
and camping outfits) but resembling a thumb tack) and turns back the cor-
ner and steps inside cabinet. Replacing this the trick is done.
HULL’S PORTO CABINET
A still further perfection of the Lightning Cabinet Production is this.
The panels are brought out on a truck as shown in Fig. 6. Three panels
lay flat against each other. The first of the panels is picked up by
an assistant on one side the performer on the other and carried DIRECTLY
FORWARD (not drawn off to the side äs in the previous illusion). This
is placed on cabinet to form the SIDE. (See markings at the TOP 6 of
Fig. 7 indicating the order of the panels on truck (Fig. 7). The next
panel is also carried DIRECTLY FORWARD and used to form the BACK of cab-
inet. As this panel has been lying FLAT AGAINST the other panel on the
truck with scarcely TWO INCHES .between them, it is obvious: (apparently)
that no one could be concealed behind THAT panel - because there is no
room for a person there. But really there was someone on it!! How?
By means of a secret in the construction of the panel behind it. SEE
FIG. 7. The panel of the THIRD or last wall on the truck is cut thru
the center of the panel - so that it can swing back like two swinging
doors SEE FIG. 8. Therefore the person to appear may be placed on the
back of the No. 2 panel and remain there even when the panels are laid
flat against each other - because the secret opening or doors in the
last panel on truck swing back and allow him an opening or space for
his body. Thus the center of the three panels has the man and he is
carried forward - and as this occurs the doors in the last panel quiet-
ly close after him and present a flat surface to view. To conceal the
opening in this panel the center part is covered with canvas and painted
in checkerboard design. The other panels are painted alike to match.
The cabinet thus works the same as the other in production.
 . -40-
VOLTA°S EXCLUSIVE LIGHTING DISAPPEARANCE

This is probably the most striking and original illusion of the day. The
blue prints show the construction and operation of this most remarkable
illusion and should be compared carefully with the explanation.
WORKING. Performer wheels out cabinet and exhibits it from all sides
explaining that it already has only three sides. He states that he
will now hang a short curtain inside to form the fourth side thus complete-
ing the cabinet. This must be carried out so that the audience will think
that he is merely preparing the cabinet for the appearance of some person.
Stepping inside he attempts to hang the short curtain. But after a few
unsuccessful attempts he lowers curtain and reaching up inside apparently
endeavors to adjust some hook or other device in top of cabinet. He
then looks toward assistant and nods his head, meaningly. Assistant
comes forward and standing near front of cabinet, but well to one side,
so as not to block the view, takes hold of the curtain edge near lower
corner and looks up into top of cabinet as performer again raises curtain
and attempts to fasten it to ceiling. While they are still working with
the unruly curtain, which still seems to baffle their efforts (as it
keeps moving up and down in a jerky manner) --- and while performer’s
legs can be plainly seen below the edge of curtain (as it is too short
to cqnceal them) a shot is fired from audience. Curtain drops — as-
sistant whips it out of cabinet and performer is found to be the man
■

who fired shot from audience.

What actually takes place is: At the point when curtain is lowered for
a moment while the performer appears to be adjusting the hook, the as-
sistant (either one at side of cabinet or one off-stage) pulls cord "A"
which raises the trap in floor of cabinet to which the false legs are
attached to swing upward into position shown in FIG. 2. The trap is
the full width of cabinet. Performer immediately conceals the performer’s
own legs which are just behind trap. Performer immediately raises the
curtain which has either a wood rod or a wire run thru the hem at the
top and lays it on the fork shaped hook "B" at top of cabinet to which
"Cord "B" is attached. While the little by-play of assistant coming
forward and endeavoring to assist with the curtain, etc., is taking
place, performer escapes out back of cabinet and makes his way around
behind audience. An assistant or stage hand off-stage keeps jerking
"Cord B" so that curtain continues moving up and down just as if per-
former was still there and trying to hang it within cabinet, to give
the impression that performer is still there. A heavy knot or a piece
of soft rubber will serve as a temporary stock either of which will
offer a SLIGHT resistance on reaching the pulley, and show the as-
sistant how far he may pull cord without dropping the curtain off,
before the proper time,-- but which may be pulled right through the
pulley with a little extra jerk when it is desired to cause curtain
to fall. At sound of shot he pplls hard on this cord and at the same
instant releases "Cord A" causing curtain to be brushed off the hooks
"B" as they are pulled back thru the shield "A" while at the same time
the trap holding the legs falls shut of its own weight, carrying the
legs out of sight.
 -41-
DETAILS: Cabinet should be lined throughout with a very dark blue or
purple material with a dull surface -- velveteen, of course, being the
best, but more expensive. This because these colors show no shadows.
Part of trap which takes place of floor when legs are raised, also lined
the same, as well as the part of trap to which legs are attached.
As legs set back away and the cabinet is narrow and the curtain hung in
the front, all these serve to cut down the light within cabinet so that
it appears from the front as if one could see clear through to back of
cabinet between the performer's legs, really the false legs. The
aluminum guide ”D" in trap of cabinet is lined with heavy felt to pre-
vent any sound when the lower part of trap, part "E" slides along in
opening and closing. A piece of sponge rubber of the type used in
rubber stamp manufacture is cemented with rubber cement to either front
side or support or under side of "E" under the false feet.

Decorated moulding placed at front edge of cabinet floor serves to make

cabinet floor depth appear even less than it is (only six inches) on
the well known perspective principle as in DIDA, etc. The false legs
are made of papier-mache or carved from wood not the shape of human
legs, but the shape of a trousered leg (triangular) and pointed at
front so that they will always hold their shape when covered with cloth
to match performer’s trousers and will not require creasing.
A permanent stop is placed on cord "A" shown to limit pull on cord to
proper distance to raise legs upright, and no more.
SUITCASE CLUB SHOW SHOOTING ILLUSION
Directions and Presentation written by BURLING HULL

This is the effect presented with great success at a number of Magical

Clubs as well as in regular professional entertaining.
The principal feature of this illusion is its SENSATIONAL nature which
makes it a far bigger hit with an audience than would any equally mys-
terious effect in magic or even a far more elaborate one. Houdini
made a world-wide name surpassing other equally capable performers,
merely because he selected ONLY SENSATIONAL EFFECTS for his presentation.
This Shooting illusion in various forms has been the greatest of all sen-
sational effects creating a sensation for many performers for hundreds of
years back. This is the first time the effect has been made suitable for
Club or Parlor work by means of a clever arrangement in portable form.
Lift off the top of the box-like Stand. Take out the crosspiece and set
it upright on the stand — Then fasten the hook, thus holding it firmly
upright.

Then "Set" the spring hammer by bringing it forward and fastening it

with the "catch" on the releasing rod. Now replace the Cover (as it
only fits the right way, you cannot go astray here. By means of the
cords or ribbons place a piece of ordinary glass (any glazier can
 -42-
supply you a piece 6 by 5 inches or 6 by 6 inches waste glass for 15 C or
so) so that it is suspended as in the illustration in the advertisement.
The glass merely hangs in the loops loosely -- which is necessary for
the effect, otherwise glass will not break effectively. This is your
"Target".
Attach a thread to the "Release” and leave a short length of about 2-1/2
feet then place a small black button thereon. Have the Target all set
on your table with the button nearby -- or else bring it in and place
on your table when ready. Pick up the Playing Card sent with set. This
has a hole in it as if from a bullet. Also have laying on this a small
square of the BLACK COURT PLASTER — gummed side up. You are now READY.
Have card NEAR the button (on thread) so that in picking up card you can
get hold of the Button.

WORKING; After performing your other effects, introduce this mystery

with' a proper speech suited to your style of working. Speak of the
apparent danger — but insist that with your mastery of the subject
of Magic there is NO NEED FOR ALARM.

Have your assistant take her place. She or he comes out with the court
plaster ON THE RIGHT or LEFT THUMB-TIP. Assistant walks to table and
picks up the card — at same time secretly getting hold of the BUTTON
of the thread. Placing the court-plaster-tipped thumb behind the HOLE
in card => it causes card to appear to the audience as a card that is
WHOLE in every way. Assistant takes place in front of target but so
audience can see TARGET (See illustration) and just as far as the length
of thread will allow. He or she holds the button in the hand (say right
hand in illustration) which is away from the audience. At the sound of
the shot, assistant pulls the thread slightly — the glass crashes to
pieces with a startling "CRASH!” — as the concealed spring flies
up and breaks it forward for identification.

The marked bullet switch which has been employed in all methods to ex-
change the cartridge for a blank one is employed in this method as in
all past methods for this trick-- but in a far more easy manner. TWO
METHODS are available: Prepare a few cartridges by loosening the bull-
ets and extracting them, There is no danger in this as the bullets can
be removed safely as no cartridge can explode until a very HARD BLOW is
struck in the exact spot on the rear (percussion cap) in exactly the same
manner as a revolver hammer would strike it. You know of course, that
a Rim Fire revolver will not discharge a Center Fire cartridge though
it strikes a powerful blow ONLY A FRACTION OF AN INCH FROM THE RIGHT
SPOT. This will convince you of the point if there is any unnatural
fear of cartridges lurking in your mind thru inexperience. But if you
prefer, have your local sporting goods store or gun-smith prepare them
for you. Place the bullets back in shells. Hold out a handful of these
and ask someone to select one by pointing to it. Take that one and place
a mark thereon by scratching a light "X" on the side. Or let party do so
himself or herself. Generally they are so afraid of cartridges that they
will do so very lightly if at all WHILE YOU HOLD THE CARTRIDGE FOR THEM.
Meanwhile pour the rest of cartridges back into your side coat pocket
 -43-
(secretly securing a blank cartridge placed therein before hand) into
the fingers of your RIGHT hand. Bring out the revolver or gun and "break"
it open ready to load. The marked cartridge is in the left hand naturally.
Lay gun in that hand also and reach into that hand with right fingers pre-
tending to take the cartridge-—• but really bringing the BLANK cartridge
to view BUTT END TOWARD SPECTATOR and picking it APPARENTLY from the
left hand --- place it immediately in the gun breach and close gun.
Left hand is holding the revolver or gun so that it perfectly conceals .
the fact that anything may be concealed therein — just as we take up
a magic wand to conceal the fact that something is palmed therein. The
move is indetectable.
It only remains for the performer tqhhpld the revolver in his right
hand (meanwhile slipping left hand into pocket and working bullet out
of shell) and fire. Assistant pulls thread and glass crashes with a
startling sound. Assistant draws back the court-plaster tipped thumb
from behind the hole on card — then holding up card - SHOWS A HOLE
RIGHT THRU THE CARD as if by a shot. Performer walks forward (here
is where if he is using a rifle he carries the gun in two hands in a
natural manner and while walking toward assistant he easily extracts
the marked bullet from cartridge) and taking the card from assistant
he holds it up SHOWING THE HOLE THEREIN for a full four seconds —
and then TOSSES it to audience for examination. This is far better
than using any trick card. A neat idea. Performer then steps to the
Target and reaches in among the glass and brings out the bullet. He
of course, quietly DROPS it therein while moving the bits of glass
about so that when he apparently "Spots" it for the first time
he can say "Here it is" and then raising the Right hand fingers wide
apart, he can bring it slowly down into the glass pieces and VISIBLY
pick up the bullet with the bare FINGER-TIPS — very effectively —
and quite fairly. It is now identified by the marks on bullet.
NOTE: Some performers do not mark the bullet, merely giving cartridges
for examination and having party pick out one. Then switching it for
blank as before. Another has several FLATTENED BULLETS (made by shoot-
ing against a stone wall) with?a few marks thereon. The FLATTENED
condition of bullet covers any slight difference in the X mark, so
performer says "Here it is. A bit flattened -- but I think you can
still see the mark. Yes, there it is" -- and audience take rest for
granted.
We cannot impress upon you too strongly that here is a real sensation
that will create a small RIOT of applause no matter where you present
it — and will be the hit of your show even if you do not present it
very well at the first attempt. So by all means use it at the first
possible opportunity. Then study up your switching moves and perfect it.
Another version. Use a ballon in place of card. When picking up ballon
also pick up the button on thread. Have a finger ring with a thumbtack
soldered on inner side of ring to fit over finger. Use it to burst ballon.
 -44-
TEMPLE OF BUDDHA
Specifications: This Illusion consists of a cabinet about 3 ft. wide -
3 ft. deep and 3 ft. high, exclusive of ornamented top. The back, sides
and lower section of front are paneled. The upper section of front is
open for view into cabinet.
A counter shelf or division A, Fig. 1-3 separated the cabinet in two
sections. The back section of this shelf is cut out to form a V shaped
opening for assistant to stand back of mirrors. Two mirrors BB Fig. 1-2
are placed in upper section of cabinet, extending from back corner to
center of cabinet where the joint is covered by turned column CCC, Fig.
1-2-3 and from counter shelf to top of cabinet. This center column is
shown in full size detail, Fig. 4, and is turned of wood, having the
back section cut out to receive mirror. Enough space is allowed between
edges of mirror for a hole in column DD Fig. 1-2 for arm of assistant.
Interior of cabinet should be lined with plain cloth with stripes or
ribbons extending diagonally from corner to corner of sides, top and
bottom of upper section EE Fig. 2. It will be noted that the ribbons
on top and bottom directly, in front of mirrors are only half as wide
as the other ribbons, as the reflection in mirror doubles their width.
The center column is best painted gold or some brilliant contrasting
color. With column in exact center of cabinet, the reflection of the
ribbons in mirror, give the appearance of seeing the entire upper sec-
tion of cabinet.

One lower back panel is hinged FF Fig. 2-3 for entry into cabinet
and should match the outer paneling so as to not be seen. Ornamental
top pieces consists of frame work sawed out to pattern and covered with
canvas or wall board. Pilasters, with moulding and base, give a nice
appearance to cabinet. Paint as desired.

OPERATION: This feature is an elaborated version of the well known,

"Buddha" stunt usually seen at side shows, concessions, etc. A blank
sheet of paper, when placed in a glass tube and glass or cap put on,
is removed but instead of being blank, the paper now contains a written
fortune, supposedly applied to the one who had previously.placed his
name on the blank paper, and for which, a charge generally is made of
from 10«? to 25<?.
As the tube and chemical effect is now in general use, it only remains
to suggest the use of the cabinet as described herewith, in order to
derive an added and far greater effect of an Illusionary type.

The assistant concealed in back of cabinet merely holds the glass

tube and assuming a constant swaying movement, the effect being as
though the hands remains in space with no visible motive power to
guide it.
 -45-
FIASH APPEARANCE

This item is calculated more for use as a surprise opening, or performer’s

—- feature introduction at beginning of the performance immediately following
the rise of the curtain. Apparatus which resembles a sort of Oriental
gateway consists of platform and upright framework on back of which is a
spring roller curtain of same material as back-drop. Curtain is held
down by a catch, and which when released by performer’s foot, causes a
curtain to fly up and sets off fire flash at the same time.
SPECIFICATIONS; This illusion consists of a platform 3 feet x 4 feet
6 inches AAA. Figure 1-2-3 with ornamental skirt about 6 inches high
to raise it a little off the floor, It is mounted on casters for moving
easily.
The gateway BB Figure 1-2-3 consists of two uprights of wood about 8
inches wide at the bottom and tapering to about 6 inches at the top.
Two cross bars CC Figure 1-2-3 are bolted to uprights at top. The top
bar merely as an ornament, but the lower one is used to conceal the
shade roller, DD Figure 2-3. Ornamental Dragon can be sawed out of
thin 3I? ply wood and hooked in place at top if desired. Strips of
wood, EE Figure 2-3 are placed back of uprights to act as braces.
Ornamental open work grills or fences FF Figure 1-2-3 are bolted to •
uprights of gate, and are fastened to platform with loose pin hinges.
Uprights of gate are also fastened to platform with loose pin hinges.

Shade roller DD Figure 2-3-4 has a curtain of same material as back

drop, having a width to cover the opening between the uprights, and
length to reach from roller to floor of platform. Curtain has metal
bar in lower edge, having a hole which engages with release bolt GGG
Figure 2-3-4. Gateway can be painted to suit taste—the Chinese being
very appropriate.

The flash pan H Figure 3 can be the ordinary kind used by photographers;
operated with striker, having a small wire or thread pinning to curtain
release bolt, so that when the curtain is released, it also sets off
flash powder.
OPERATION; Apparatus sets center stage, several feet in front of back;
drop -- lights half down. Performer is in position rear of curtain.
At the desired moment, the curtain is sprung by means of a foot trip.
Fire flash ensues -- and the performer walks forward.
FULL LIGHTS AND MUSIC!
 -46-

THE IMPROVED "SEE THRU" STEPS.

The openwork design of sides of steps is backed with black velvet so

that they cannot be seen through. The steps are so wide (Front to
Back) and tilted at a very sharp downward angle so that they very-
nearly overlap each other as viewed from the front and therefore leave
very little space between them to see thru. This space is covered by
cloth backing of the same color as the steps are painted (preferably
dark) blue but of a very dark shade approaching black. This gives the
audience the impression that they can see right thru between the steps.
The steps are covered with corrugated rubber to enable performer to
mount them easily in spite of their slant. The backing is shown as
being mounted on a window shade roller - of the spring roller type.
This permits the steps to be left near footlights at first with shade
rolled away - so spectators can see right thru steps. Later as steps
are swung around side to audience and while being rolled back toward
platform by helpers one of them pulls cord pulling shade up by means
of the cord running over pulley at top of platform. Steps have a
trap door operating in top of steps. Steps are moved under the plat-
form while performer is mounting steps to throw cloth cover top of
screen. Trap may operate upward so it will not strike steps - or can
work downward if steps are tall enough. Trap in steps can be omitted
if desired and girl may lower herself through the platform screen is
rested on — and go BEHIND steps --- then move into steps from rear.
Steps have a floor inside base to support girl while it is being
rolled away from screen and toward back stage — or over stage trap
so she can make her final escape to appear elsewhere in act.
THE MORRIT CAGE ILLUSION.

SPECIFICATIONS: This Illusion consists of a large cabinet, having a

central cage, or cell like enclosure as shown in Fig. 1-2-3.
The floor—A—Figure 1-2-3-4 of cabinet is made solid, having re-
inforcing framework underneath. The outside framework is sawed out
as per detail and forms the legs of cabinet. Casters are placed on
legs, so cabinet may be turned around. Corner posts,—B—B-^Figure
1-2-3-4 are made of wood 2 1/4" square and 6’ 10" long, and have bolts
inserted in ends, which allows them to be bolted to platform and top
of cabinet. The top--C—Figure 1-2-4 consists of a framework having
a thin panel on under side, so surface will be flush. A cornice--D—
Figure 1-2-4 is placed around framework to reinforce and to give finish.
Curtain rods—E—Figure 1-2-4 are hung from rods and fill openings at
sides and back of cabinet, so that cabinet is enclosed on 3 sides.
The cage—G—Figure 1-2-3-4 consists of a framework enclosure, having
rods fitted in openings as shown. The side? of cage
--- — -
are bolted between
top and floor of cabinet and as shown at —H—H—Figure 2-3-4. Doors
--I--I—Figure 1-2-3-4 are hinged to sides, and swung out as shown.
Lock or hasp may be used on front door, but the back door should have
concealed bolt, so it may be locked from either inside or out, and to
audience is apparantly solid.
 .-47-
Mirror—K—Figure 1-3-4 is fitted between floor and ceiling of cabinet,
and from back comer of cage to back corner post of cabinet. A backing
of plywood is placed back of mirror and is held to mirror with small
metal binding strips as shown in Figure 4. Mirror is held in place with
dowel pins in bottom and spring catch at top.
Curtains—L—Figure 3-4 are placed inside of cage on front and two sides,
but not at back. Steel rod frame—M—Figure 1-2-3-4 is placed in seam
in bottom edge of curtain, and acts as weight, and also for fastening
cord pulls—N—Figure 4 which raise and lower curtains, by operating
over pulleys—0—Figure 1-2-3-4 placed on top of cabinet and directly
above rod frame. Three cords are used. One having to be fastened to
center of rod at front, and two on opposite sides near back. Cords
run through respective pulleys on top and converge to one central pull
cord. Small rings—P—Figure 4 are sewed to curtains at intervals of
4 or 5 inches through which cord pulls slide, thereby causing curtains
to fold properly when raised. Curtains can be of almost any material,
but if figured material is used on curtains around cabinet, care must
be used to see that the reflection of side curtain, corresponds to
back curtain.
In painting this Illusion, it is suggested that cage be painted to
represent metal as much as possible. The top cord bottom of cabinet
should be painted to hide edges of mirror as much as possible.
OPERATION: In working this illusion, entrance is made through back
curtain of cabinet, which can either slide on rod, or can be in two
pieces.
The audience apparently see on all sides of cage at all times, but
actually see only reflection of side cabinet in mirror, which appears
as if looking through to back curtains.
Now, when curtains in cage are down, the line of sight of audience is
such that back of cage and back of mirror are entirely hidden from
view, but who still think they see entirely around cage.
Several methods of loading illusion can be used, one of the best
being, to first turn cabinet entirely around, with curtains in
cage up and curtains on cabinet down. Cabinet is brought to position
a few feet from back drop, so that a plank pushed through door in back
drop, rests on floor of cabinet. As curtains in cage are lowered,
assistants, one at a time enter through back curtain of cabinet, and
into cage through back door. Cage curtains are raised, showing assist-
ants apparently locked in cage. By repeating the operations as many
persons as desired can be produced.
 -48-
NITE-CLUB GIRL VANISH

Note drawings on next page to give you a general idea on what it is

all about.
A table made of wood with casters on. Table is 22" deep by 25"
long by 28" high. With trap door in the top and two mirrors running
from edges to a rear of center post as shown. Permanent drapes are
around three sides as shown and a removable drape on other side. On
top of table you have fastened a bottomless bag affair with hoop in
the top as shown. At start removable drape is in place, and bag on
top of table.
Draped table is wheeled in, in the center of floor or stage. And by
the aid of a small stool, girl is assisted to top of table and steps
into bag, you stand on stool and pull bag over girl. As soon as she
is concealed she steps to outside edge of trap and pulls it open and
slips down into table behind mirror, then pulls trap down over her
head.
Following this you allow bag to drop flat to table top, girl has
apparently vanished. Then to prove she is not in the table you rip .
off the removable side of drape at one side, of table, and wheel table
all around, audience see reflection of sides, and apparently they, see
the rear of drape, thanks to mirror reflection and apparently see full
depth of table. It appears as if there is no visible space to even
conceal a pigeon. Owing to the fact that mirrors come only to center
of table, you will get no outside reflections, making the Illusion
perfect for even close-up work.
Note - Be sure center post comes to center of table at both length
and depth, then there is positively no outside reflections.
Shelf on table should be decorated in squares or lines, so the edges
of mirror will not show a line.
It is not necessary to even have a door in the trap, as the bag part
is never removed, just an open trap is 0. K.
The same principle can be used for smaller effects such as the pigeon
vanish, or a production table of various items, etc.
FIRE AND WATER ILLUSION

SPECIFICATIONS: This effect consists of two cabinets, one mounted on

legs, and having top, sides, front and back made of mesh wire network,
which stands on one side of stage. The other side stands near a pipe
framework cabinet, mounted on legs, and having a large glass tank filled
with water, which is suspended from top framework with chains. Sliding
curtains are provided so cabinet can be enclosed.
 -49-
The wire mesh cabinet Fig. 1-2-3 consists of a small platform A Fig. 1-
2-3 which is mounted on legs made of pipe, which are fastened to
lower side of platform with floor flanges, so they can be removed for
packing. Casters are placed on ends of legs, so cabinet can be rolled
on and off stage.
The sides, front, back and top are made up of panels of mesh wire
cloth, reinforced around edges with small steel angles as shown in
Fig0 4 which are welded together at corners, forming frames.
The mesh wire is then riveted to these frames as shown in Fig. 4.
Frames are bolted together and to the platform with small bolts B.
Fig. 4 which makes a rigid cabinet that can be quickly set up or
taken down. The top can be either bolted or placed on loose, the
angle steel frame forming le'dge as shown in Fig. 4. All panels a.re
solid except the back which hinges to side panel as at C Fig. 3 and
swings out. The lower center section of this door hinges near center
of back door as shown at D. Fig. 2-3 and swings up to allow assistant
to escape from cabinet.

A small steel channel E. Fig. 3-5 is screwed to floor of cabinet at

front and two sides inside the wire panels. Red fire powder is placed
in this channel and is fired by small fuse wire placed in channel at
front of cabinet as shown Fig. 3-5.

Folding lazy tongs or scissors F. Fig. 1-2-3-6 are mounted in platform

and are covered when not in use by small trap door G. Fig. 2-3 which
hinges to raise up. Tongues are made of narrow bars of metal, pivoted
together to form a ladderlike affair, as shown in Fig. 1 and in full
size details in Fig. 6. A push or pull on lower ends being pivoted
to sliding strips of metal HHFig. 6 which slide in grooves in strips
I-I Fig. 6 which are screwed to lower side of platform. Tongues are
operated by pull cords which are fastened to ends of sliding bars H. H.
Fig. 6 and over small pulleys or screweyes at sides of platform and
then off stage.
A set of portable steps Fig. 7 are required - a side and plan view
being shown. These are best made of thin plywood boxed in solid on
all sides, which makes a container like affair in which assistant hides.
The top step and the upper portion of the back are hinged to raise up,
allowing an opening thru which assistant may enter and take position
shown. Casters are placed on bottom for ease in moving.

The pipe frame work cabinet which holds the tank of water is shown in
Fig. 8-9-10 and consists of a platform made of wood well reinforced
and mounted on pipe legs, which are screwed to platform with floor
flanges. Casters are placed on ends of legs for ease in moving. The
pipe frame work K-K Fig. 1-2 consists of 4 uprights which are screwed
to floor with flanges which are joined to top cross members with side
outlet elbows as shown. All sections of this cabinet must be made very
 -50-
strong as the tank when filled with water is very heavy, Heayy eye-
bolts L-L Fig. 8-9 are bolted to elbows at top.
Curtains M-M Fig. 8-9 are hung from rings which slip on pipe cross
members so curtains can be drawn back or closed as desired.
Chains N-N Fig. 8-9 are secured to eyebolts L-L and down to eyelets
on ends of tank as shown.

The tank which is made like a large aquarium is made of plate rein-
forced with heavy steel angle pieces around edges - as shown in Fig. 11.
Steel angles are welded together at comers forming a heavy frame, to
which the plate glass is well cemented so joints will not leak. The
top consists of a steel channel frame, which is hinged to back of tank
as shown Fig. 11. The glass in top is made in three sections, the end
sections being fastened permanently in main top Frame and reach to edge
of straps as shown in Fig. 10 while the central section is hinged to
main top at the front and is of such length to reach between straps as
shown Fig. 10. This allows the center portion to be raised indepen-
dent of rest of top when assistant enters tank, the edges of straps
hiding the joints. When entire top is to be raised as at finish straps
have to be unbuckled. Straps look best if made of leather and should
be held in their proper place with small loops of metal placed on frame.
Straps go entirely around tank joints being at front as shown.

Presentation; Cabinets are on opposite sides of stage. The wire

network cabinet having the red fire powder placed in channel provided
with wiring connected to some convenient plug off stage with switch
open ready for firing. Tongues or scissors are down in platform, with
cords running off stage. Steps are at a convenient place nearby, so
they can be used without undue attention being given them. The cabinet
with tank is on opposite side of stage, curtains drawn back to corner
posts, and the tank about 2/3 full of water - the straps either buckled
or padlocks can be used.
Performer introduces lady assistant, who enters wire network cabinet
thru back door, using the steps which are rolled up to back door.
Back door is closed, the steps being left with the back close to door.
Assistant covers herself with cloth sheet, and as she holds sheet in
front of herself for an instant, second assistant off stage pulls up
tongues in front of her and she drops sheet over top of tongues. This
leaves her free to creep out thru small lower section of back door and
into steps and take position shown. Performer now wheels steps
(containing girl) to the tank cabinet, and closes curtains, using the
steps to reach and pull curtains. Starting at end he draws them in
rotation arriving at back last. As he rolls steps to back assistant
comes out and climbs to top of tank, entering tank thru the central
portion of lid - which does not disturb the straps. Performer steps
back and fires pistol - wirework cabinet bursts into flames - assistant
off stage closing electric switch causing fuse to ignite red fire powder
 -51-
and at same time he lowers tongues which hold up sheet to floor of
cabinet.

Performer throws back curtains on tank cabinet showing same girl in

tank, the straps are unfastened .- entire lid raised up and girl steps
out unharmed.
FLAT MODEL HEAD CHEST - U. F. GRANT RELEASE

The flat Model Head Chest is a miniature illusion that is comparable

to any.large stage illusion of similar nature and requires a great
..deal less handling and expense. It packs into a carton 16 inches by
. 16 inches by 3 inches and weighs less than four pounds. The illus-
ionette consists of a tray and a 3 fold screen with the open side
towards the audience. The rapidity, pf assembly before the audience
is due to the interslotting of the sides and back. One you have the
outfit, it practically explains itself. Have person step forward and
place on a low chair or stool facing the audience. Place the tray
around neck and then assemble the outside boards around head, by
sliding the end. boards into slots on back board and tray. Poke a
silk into each of the four holes. Have the covers on the front of the
hinged two fold screen so as to hide the fact there are mirrors in
the screen. Now place the two fold screen in front of persons face
so center locks behind center block, and ends go against strips at
each side of outside screen. Now when you remove the slides from the
hinged small screen,, thanks to mirror reflections, the head is
"gone" and they apparently see clear to back, and see silks thru
holes at rear. Step to rear side of outfit and as one hand at side
pulls silk out of that hole, other hand at rear pulls silk out of that
hole. Then stick fingers in these two holes and wiggle them around
and they apparently see finger at rear hole. Slip silks back in and do
same at other side of outfit. Replace the.screen slides and pull two
fold screen aside and head is restored. . **’
VICTORY GIRL PRODUCTION
You require two large cardboard cartons,.such as you will find at a
local dry goods or department store. Remove the tops and bottom of
these. Reinforce the edges with gummed tape or book binders tape.
Also put tape over top and bottom edges too so they will be smooth and
the girl’s dress will not catch. We suggest leaving them plain, as it
makes the stunt appear impromptu. But if desired they may be painted
up for flash. Being reinforced as described they will last for scores
of shows.

Have them so they fold flat as shown in sketches, they will do this
without tops or bottoms. One. carton is. faked by cutting a large open-
ing in the rear. The unfaked^carton is made slightly larger so it fits
over.the outside of the fake one.
 -52-
Have them folded with fake one at front and so opening or trap is
at the rear. They are leaning against something, such as a chair,
with girl concealed behind the back one as shown in Fig. 1. Pick ",
up front one and show it flat. .As you place it down let it form
into box shape so it overlaps the other slightly. As this is done
girl skips from behind folded one and thru opening in rear as you
pick up second one to show as in Fig. 2. Drop the second one out-
side and over the fake one as in Fig. 3. This covers hole at
rear of inner one and the nested cartons may be twisted around while
still on floor to show all sides, Then clap your hands and the girl
pops out as in Fig. 4.

Bill Neff uses this method, where girl does not have to skip from
one place to the other. He picks up front one and shows it and
forms it into a carton and just as he places it down in front of the _•
folded one, he immediately picks up folded one. This leaves the girl
behind the folded one, she then goes thru trap. This is a most
effective move if practiced so you apparently pick up back one at
same instant front one goes down. This way it appears as if back one
was picked up before front one was placed down.

Paul Fenton at the Columbus Magi-Fest Convention a few years ago pro-.
duced his daughter from two small cartons as above then at finish
placed her back in and vanished her. He worked it so smooth and fast
it fopled the seasoned Magi present. )

"WALKING THROUGH A STEEL PLATE" ByU. F. Grant

This is the latest "solid through solid" Illusion. A real baffling
mystery that will stand rigid examination and leave the audience
completely mystified.

THE EFFECT: A committee is invited up on the stage to examine a

solid steel plate mounted in a light framework. Semi-circular draw-
curtains are arranged at front and rear of frame to screen the per-
former while actually"walking thru the steel plate". The committee,
having been satisfied as to the solidity and genuineness of the
steel, performer steps to the rear of the plate and draws the curtain
around him. The front curtain is also drawn and the music starts to
play. In a few seconds, performers hands are seen above the front
curtain...the music stops...front curtain in drawn...and there stands
the performer, having apparently passed right thru the steel plate,
while entirely surrounded by a committee. Everything immediately
examined again, and no clue is to be found. A dramatic and sensa-
tional effect.

CONSTRUCTION DETAILS: The drawings show how to make up the outfit, I

which is inexpensive for this type of Illusion. Part #1 illustrates
the moulding around the sides and top of the framework. Part #2 shows
the cleverly faked moulding at the bottom. It's construction is the
 -53-

secret of the trick. "A" is the sheet of steel; "B" and "C" are sec-
tions of the fake moulding...part B. setting into part C, and held up
snug against the lower edge of the steel plate by spring pressure.
Four or five springs should be spaced along the length of this bottom
moulding.

The sheet of steel is cut so that two nibs project at the top corners,
which fit into corresponding holes in the upper corners of the frame,
as indicated by dotted lines in the large drawing. The plate pivots or
swings on these. At the sides and top the steel fits flush against the
moulding of the frame while,, at the bottom, it sets into the ridge of
the moulding B. The springs exerting pressure against part B. lock it
securely in place and permits close examination.

OPERATION: After the curtains are drawn on both sides of the frame-
work, you merely step on the bottom moulding, pressing it down flush
with part C. This releases the steel plate so it can be swung open at
the bottom. Crawl under to the opposite side of the plate, which you
then allow to swing back quietly. To replace the moulding, use a
small, flat piece of steel from pocket.. .wedging this between the
plate and moulding section B. which recedes into part C. sufficiently
to allow the plate to lock into proper position, as in the begining. •
Any slight noise during this action is covered by your musical accom-
paniment.

A RECENT IMPROVEMENT: Consist in cementing quarter-round moulding

around the edges of the steel plate (Mettalic X Cement, sold in hardy-
ware stores makes a perfect joint). On the top and both sides this
moulding is attached at the very edge of the plate, while at the bot-
tom it is placed about one inch from the edge to allow the steel,
plate to go down into position in part B. Thus, when locked in place,
part B. rises up flush and snug against the moulding along the bottom
of the plate. This is quite an improvement as it appears, on exam-
ination, that the quarter-round is part of the framework itself and
that the plate sets securely into it all around.

ADDITIONAL ROUTINES: If one prefers to elaborate on the presentation,

a hole can be drilled in the center of the sheet metal. Prepare a
rope with a Tarbell Rope Gimmie in the middle. This is tied around
performers waist and ends pulled thru the hole and held (outside the .
curtain on the other side) by members of the committee. After curtains
are drawn, performer unfastens the rope at the gimmie, passes thru
(?) the plate and then fastens the rope around the body again, The
effect being that he has been pulled through the small hole.
Or, in place of the gimmicked rope, use two ropes ala the Coat Tape
and Rings Trick. But in this case, the ropes are held together in
the middle with a safety pin. This is slid onto the ropes after they
have been examined. Then secretly the ropes are doubled back, the
laps being held by the safety pin and covered by rhe hand.
 -54-

Center part of rppe is placed under performers coat and around the
body and tied, then ends are passed thru the hole in the metal, etc.
When ready release ropes by opening the safety pin; get under the $
plate and replace ropes around body again. But, this time, step
into the loops the opposite way and without the aid of the pins.
Thus they will actually be tied around you and at the finish all
may be examined.
THE "DON ROSE" TYPE DOLL HOUSE ILLUSION
For completeness TWO versions of this model of the new Doll House
Illusion are included: (One)- Standing type, (Two) - Kneeling type.
Both versions have certain advantages in being much less cost and
labor to build - pack small and flatter - and are much lighter in
weight requiring no deep well table to accommodate the legs of girl.
We recommend the kneeling type as our favorite form.
Standing type is as shown in drawings but without the features
lettered "A" to "X" which are only needed for the kneeling version.
Construct the shell of the house just as shown to accommodate a fair
sized girl. Increase or decrease dimensions if for large or taller -
or smaller girl as case may be. -Doors may be opened on all sides for
s tanding type.

KNEELING TYPE required in addition to the shell, those special features

of two pieces of plywood hinged at point shown - and the necessary
square blocks of wood - or moulding - to retain the plywood shields
in position. Also the thumb catch to hold portion of Shield "D" from
folding down - until the thumb catch is drawn back to release it from
Block "A" on which it rests.
To work, first load girl into house with roof off - having her KNEEL
flat against the BACK of house. Then place the Shield "C” and "D"
in position shown - bracing it against the Stop Blocks "B" and "F" -
and with forward end resting on BLOCK "A" (really the spring thumb
catch BOLT only rests on Block "A" — the Shield being short enough
to clear the block when bolt of catch is drawn back). An ordinary
DRAW BOLT will do as well as spring catch and is preferred by many
users. Girl leans forward resting on top of "D" the upper portion
of her body, hands at sides of shoulders or folded.
Girl's feet and calves of her legs extend out the back of the house
through an opening cut to accommodate them (cut to size large enough
to give plenty of clearance readily) and are concealed by a miniature
white picket fence forming a little fenced-in garden behind house.
Fence is intertwined with some artificial vines and flowers to add to
impression. DO AWAY WITH THE HINGED DOOR IN THE "KNEELING" MODEL and
just put a miniature trellised arbour over the back where the legs
come through back wall of house which adds to the appearance and breaks
 -55-
up the optical line and makes it appear shorter, Not an essential
detail, but it adds to effect.
In constructing house and shield, place girl in position of kneeling
with hands resting on floor so you can take measurements of length of
the Shield sections required to fit from floor to stomach and from front
of house to girl’s waist — and where to place the Blocks "B” and "F”.
Height of house walls in KNEELING model need only be about 23 to 24
inches — instead of the 36 inches shown for the STANDING model.
As there are considerable differences in lengths of legs and torso in
most girls - build your house to meet type used - or make large enough
to accommodate larger person.
In KNEELING model door in front may be enlarged to 15 inches wide by
14 inches high. All side doors are elimated. Shield and inner walls
of house should be painted in 1%" to 2” wide striped of alternate
royal blue and light or sky blue which on well-known optical prin-
ciples make it impossible to judge the depth of the house inside by
means of the VERTICAL STRIPES making the inner walls appear to have
more depth than actually exists when the Shield is in place.
To appear girl needs only to pull back bolt allowing "D" to swing
I downward - then let "C" swing forward and entire Shield lie flat on
floor, Then she moves FORWARD on her knees until her feet are inside
house, Performer lifts up roof and girl stands up to full height, at
same moment, Girl may step into slippers if she has removed them in
house before stepping out of house.
DETAILS OF DOLL HOUSE DRAWING

C - is a piece of \ in. plywood that is slightly less than the width. .

of inside of house from wall to wall - and of right length to fit
from the head to waist of girl to be used, when she is in a kneel-
ing forward position resting on her hands - a sort of "All Fours”
position.
D - is a second piece of same plywood that is the length of girl’s
body from front of stomach to top of her head WHEN BENDING FORWARD
AT RIGHT ANGLES IN MANNER SHOWN IN SIDE VIEW DRAWING — and as
WIDE as will almost touch (BUT WILL NICELY CLEAR) the distance
between left and right side of INNER SIDES of house. This piece •
of plywood is HINGED to C piece at point E.
E - is a square one inch block of wood screwed firmly to right side of
house wall at point shown so C can rest against it and not fall for-
ward. A second identical block is fastened on the LEFT side wall at
a corresponding point.
 -56-
F- is a square rod of wood molding fastened to floor and across floor at
point shown — approximately 1/2 in. nearer toward front than point
at which B is screwed to wall. This prevents C being pushed forward,
too far by girl's leg (thigh) or knees as case may be according to
whether constructed for KNEELING or STANDING position.
A- is a 1/2 in. diameter cube of wood or may be 1/2 in. square strip of
molding fastened where shown to HOLD UP PLYWOOD D—until ready to
release.
X- is a spring thumb catch that is attached at point shown on FRONT EDGE
of the upper side of D. Its purpose is to HOLD up the inner piece D
by resting its, latch or tongue end on strip A until ready for appear-
ance - whereupon girl can draw back the spring latch so that it clears
the support A -- whereon the piece D can SWING DOWNWARD and back until
it lies flat against the part C.
G- FENCE - is a tiny picket fence made up like those on toy dollhouses
and it is made up just long enough (about 12 inches for tall girl)
to conceal girl's calves and feet—and about high enough to cover ■
feet when shoes are off. Artificial roses and leaves are twined vine
like in and out of fence and over top to give effect of miniature
garden or yard, and further help to conceal the legs etc. ■
Shoes can be left off and inside house and girl can step into them if
pumps are used -- before exiting from house, or fence can be made to
cover them by adding height to it.
E- is a hinge on INNER SIDE of the boards C and D either a long piano
hinge or a pair of hinges placed about 6 inches apart.

THE EGYPTIAN MUMMY ILLUSION

An Egyptian designed and decorated cabinet mounted on a rather wide plat-

form which extends out a foot beyond the base of the cabinet on all sides
as shown in Fig. 1 & Fig. 2. The right side of the platform has a hollow
space that can be weighted with a sandbag (or lead sinkers in a bag) to
preserve its balance when girl is secretly concealed behind the open
door at the side of the cabinet, when it is opened as shown in the draw-
ing. Fig. 2 shows the girl in position on platform concealed by the door
when it is opened and holding onto the handle placed on the outer side
of the panel in cabinet wall. This panel is a revolving one which is
pivoted so that the girl can pass from the inside to the outside of the
cabinet at will. An artificial shell made of paper mache and represent-
ing an Egyptian dummy of a little larger size than the girl herself, is
made up. It has a ring.;at the back which permits the dummy to be hung
on a hook on the rear back wall of cabinet which also has a pivoting panel.—
An Oriental Egyptian Princess costume is worn by the girl who is at first •
concealed inside the closed cabinet.

Inside of cabinet painted some dark, neutral color, will help conceal the
edges of the pivoting panels.
 -57-

PERFORMANCE: The front door and then the two inner doors are opened re-
vealing the mummy on the rear door.
On the rear wall is painted a representation of a fancy mummy case,
using Egyptian colors. The cabinet front door swings to the side as shown
in drawing. The two narrow.inner doors are employed to fill in a little
time. While they are being opened they give sufficient time to permit
the girl assistant concealed inside the cabinet to operate the trick
door in the side of the cabinet, step out on the platform, and conceal
herself behind the open door of the cabinet as shown in Fig. 2. The
rear door of the cabinet also opens onZhinges that swing to the opposite
side from the front door. When the cabinet is brought forward, performer
opens the front door first and then as he unfastens the two inner doors
and starts to open them, the girl assistant passes through the trick :
door in the side of the cabinet and conceals herself in position shown
in'-Fig. 2. The dummy is removed and handed to an assistant to hold while
the performer opens th$ rear door and shows the cabinet to be completely
empty as indicated infFig. 1. Closing the rear door and fastening it,
the dummy is placed back into the cabinet. Then the two inner doors
close. The girl immediately passes through the trick side panel and
takes her position inside the cabinet again. She revolves the panel in
the rear door so that the mummy is out of sight behind the rear of the . i
cabinet. Girl takes her position standing in center of the cabinet.
Performer opens the front door and the two inner doors, revealing the
mummy has come to life in the form of a real live Egyptian princess.
SAWING ILLUSIONS

As most readers will be familiar with the earlier types of this illu-
sion employing two girls, the following methods are some that magicians
have worked out which require only one girl to obtain a similar effect.
SAWING ILLUSION NO. 1

The illustrations show how the girl’s body escapes the passage of the
sawblade by sinking down into a lower-space compartment - which, by
the way, is not unlike the method employed in the Buaz-Saw Illusion where
the girl’s body also sinks down into an extra space concealed in the
supporting platform.

SAWING ILLUSION NO. 2

The illusion in this case has a pair of doors in each half of the
compartment which may be opened down part way to permit the girl to
be seen lying stretched out in the box-like arrangement. The illusion
is turned then with the head-end toward the audience while her head is
being adjusted and fastened in a comfortable position. During this
time the feet end is out of the view of the audience. At that point a
duplicate pair of false legs and shoes made to-match the real legs of
the girl are inserted through the opening provided at the foot of the
cabinet. This permits the girl to double her body up with her knees
under her chin so that her lower body completely clears the division
 -58-
where the sawblade will pass through between the front and rear portions
of the cabinet. The illusion is then moved back somewhat and turned into
a position that is at right-angle to the line of vision of the audience.
The spectators apparently see the head of the girl extending out of one
end and the feet of girl extending out of the other end. Divisions are -
slipped down between upper and lower sections of the cabinet after the
sawblade has passed through in the usual manner. This permits the two
portions of the cabinet to be separated, proving apparently that the
girl has been divided into two portions!
SAWING ILLUSION NO. 3
This is an idea submitted by the late Joe Ovette; real name - Joe/;.
Oliver. . The performer as indicated by the illusions,saws a little < • ■
further than half through the box-like cabinet while the girl’s head
is turned toward the spectators. Then he pretends to hear some spectator
say that the audience cannot see the feet of the girl. At this point the
performer states that he will satisfy that problem and swings the cabinet
around so that both ends can be seen. In the meantime, the girl who has
withdrawn her feet while the first part of the sawing teas being prepared
and has doubled her legs up to her chin, now extends her legs so that .
theyi PASS OVER the sawblade. She wriggles her feet through the opening
in the rear end so that by the time the cabinet is turned around, her
head and feet can be seen extending out of the ends of the Illusion, Any-
way, thiä is Joe Ovette’s idea, Performer can now continue the sawing
operation and pass the blade out through the bottom of the two portions
of the box Or he may detach the handle of the buck saw and withdraw
it from underneath the girl’s legs.
SAWING ILLUSION NO. 4

This is the diagonal two-saw blade Sawing Illusion. Cabinet in this

case stands upright and the girl is placed therein in an upright position ?.
also. One sawblade is inserted ät the top of rhe cabinet and the girl
crowds herself into one corner of the cabinet so as to completely escape
the blade which the performer uses to saw downward starting from the top
of the cabinet. When it has reached a point halfway down, or 28-29 in-
ches from the base of cabinet, he stops and starts to operate the other
blade which is inserted at right angles near the top of the cabinet.
The girl now simply steps over and straddles the blade with one leg on
each side of blade. Now both the blades can now be made to saw right
through to the base of the cabinet without a blade harming her in any
way. If performer has enough assistants to operate both blades at one
time, it makes it very effective to see the two blades sawing right down
to the base of the cabinet. This was effectively presented in a musical
revue where plenty of assistants were available and the sound and sight
of the two blades was most dramatic.
The cabinet is made of a size that accomodates the particular girl to
be used and the divided sections of the cabinet are held together with
fasteners at the top and bottom with sections of thin wood or balsa wood
 -59-
being inserted at the points where the sawblades will pass which gives
the effect and sound of sawing through the wood of the cabinet. The
top of the cabinet is removable and is clamped on very much like a cover
with an overlapping metal molding of angle aluminum edges which serve to
hold the cabinet together at the top. To make sure that the cover does
not shift during the operation, it is well to drill holes through the
angle aluminum edges and insert a pin or heavy nail through the metal .
• cover edge and the metal edging placed upon the top edges of the four
sides of the cabinet thus holding the parts firmly together.

THE VISIBLE SAWINGILLUS ION.. METHODS

In fairly recent years several versions of what is called the completely

"Visible” Sawing Illusion have been introduced and become very popular.
In this form the body of the individual to be apparently sawed in two is
in full view at all times. The person is merely laid on a plain board
suspended between the seats of two chairs. A simple-looking ’’Sawblade
Guide" is clamped around the middle of the individual's body and fast-
ened. A large buck saw is now placed in the guide and the sawing pro-
ceeds with all the usual attendant sounds of sawing wood. Much of the
usual comedy takes place which made this illusion so sensationally
popular with spectators all over the world for sq many years.

One advantage for the small magic show is that a single performer with-
out an assistant may even work the Illusion by taking a spectator from
the audience, either male or female, and employ that spectator in the
illusion. All with highly hilarious results very much like those
obtained in the Guillotine presentation but with far more extensive
and prolonged comedy effects than are obtained in the Head Chopper
Illusion.
THE NEW "VISIBLE” (PORTABLE) SAWING ILLUSIONS
The first version of this modem adoption was, as Mr. Percy Abbott
informed me in a letter, the origination of himself and his partner.
It consisted of the following operation. The sawblade was in three
sections, the middle section being held in position by means of clips
on the rear side of the sawblade. The Sawblade Guide had a hinged
cover at the top. This was opened and the Bucksaw blade inserted in
the top, then cover closed and fastened with a hook. As the performer
pressed downward with the saw, the center portion of the saw became
detached from the clips and remained in the top compartment leaving
only two short sections of sawblades each about 7 inches long still
fastened to the handle of the saw. These were sufficient to continue
the sawing of pieces of wood inserted in the sides of the saw guide
and provided, the sawing sound along with an apparent sight of the
saw blade sawing back and forth seemingly through the body of the
individual who is being sawed in half. However, the center portion of
the sawblade being missing, there was no actual sawblade center port-
ion touching the person lying on the board. When saw reached the bot-
tom of the Saw Guide, the individual was apparently"sawed in half.”
 -60-

The performer then had to sort of back the saw out through the body of the
individual and then reaching the top compartment, he and his assistant
had to manage to slip the center portion of the blade back into position f'~
and into the clips between the two short end portions of the blade. A
two-performer operation.

ROBERT HARBIN'S IMPROVED VERSION

Robert Harbin, noted English performer, came to UOS.A. with a considerably

improved model whereby the two halves of the Saw Guide were hinged together
and quickly locked around the body of the individual. He told me that he
was working on adding an improvement whereby instead of engaging in the
awkward operation of apparently backing the sawblade up thru the body,
he could simply say, "Now to avoid backing the sawblade up through the
body again, I will detach the blade from the saw handle." Suiting act-
ing to words, he unfastened a couple of wing nuts on the blade and then
remarked, "I will now pull the blade from under the body." He would
then whip the blade out from under the body and let it drop to the stage
with a meta lie clang. I offered him the use of my workshop in New York
to make this improvement. • Shortly he did present this extra feature.by
the simple process of having a quarter-inch secret compartment in the
base of the saw guide in which he concealed an extra full-length blade
and which he could pull out at the last moment and drop on the stage.
To get rid of the short ends of the blade which he had detached from
the base of the buck saw, he inserted a couple of magnets in the sides O
of the saw guide near the base. By merely pushing the short ends inward,
they were held firmly in position by the magnets.
THE ENGLISH IMPROVED VERSION

I believe that this still later improvement was also the idea of Robert
Harbin. The sawblade in the buck saw was actually one long, continuous
piece and could therefore be seen at much closer quarters, even.by a
spectator on the stage without revealing its secret. The secret was
that in the handle of the buck sawblade were the two short pieces of
sawblade concealed in an up-right position in slits in the handle. While
the sawblade was being adjusted between the sides of the saw guide (and
being secretly deposited in the upper compartment in the usual manner)
the performer simply released the catch on the concealed-two short end
sections of the blade which swung down from concealment in the handle
of the saw into a horizontal position. A little preliminary tightening
of the thumb screws or wing nuts which seem normal practice before
starting the sawing operation, fasten the blades firmly in the proper
position. The sawing proceeded in the usual manner and at the end the
sawblade concealed in the base is whipped out of tts concealment and
dropped on the stage. This version is more costly to manufacture and
the price is naturally about 100% higher than the earlier versions are
being sold for.
 -61-
THE TWIN CHESTS OF MYSTERY

A box about 30 some inches square on a roller platform is rolled out

on the stage and is spun around to show all sides. The front of the
box has two large open panels which permit the audience to see into
the interior. As the performer raises or lifts an inner slightly
smaller box out of the larger box, they can see the box passing up
out of the larger box by means of the open front panels as in Fig. 2.
This smaller box is carried forward and turned facing the audience
and the cover is raised revealing it as completely empty. The smaller
box is not replaced into the larger box and again the audience notices
as it passes down inside that it occupies every, available inch of the
interior of the large box, thus proving that the outer box could
contain nothing whatever. The box is spun about again and a revolver
fired whereupon the covers of the two boxes fly open and out pops a
girl. An ideal illusion for an "opening" effect in any show or to
produce a girl assistant.
The illustrations show No. 1, the box with the two boxes nested one■
inside the other. The outer box should be painted a dark color and
the inner box should be of a lighter color, such as yellow, or white
to provide contrast so; that it can be clearly distinguished when the.;.'"
inner, or smaller, box is being removed or lifted out from the outer 1
box.

The secret is that the girl is in the larger box all the time but is
concealed behind a black shield shaped as shown in illustration No. 4
which shield is fastened to the base of the outer box. The inner box
No. 2 has a secretly hinged bottom which folds up or swings up inside
as indicated in Fig. 3 so that it can lie flush against the rear wall.
However, when it is lowered to its normal position, it is resting
against a couple of slight projections and held in position by two
spring ball catches. The girl is placed in position in the outer box
No. 1, then the inner box No. 2 is lowered down into the larger box
and the curved edges of the black shield push the false bottom of the
inner box upward so that it lies against the rear wall of the small
box.

PERFORMANCE: Lifting the smaller box out of the large one, the hinged
bottom of the smaller box falls forward and down to form the base of ’
the box so soon as it clears the black shield which conceals the girl
and the spring clips hold it in position to form the bottom of the box.
The box is carried forward, set on its base, and then tipped forward
while the performer raises the cover of the bpx and turns it facing
the audience so that they can see that the interior is completely empty.
Carrying the box back it is then placed inside the larger box and low-
ered through the open panels in the front and are thereby convinced
there can be nothing within the two boxes. In building the illusion,
cut the panels in a slightly graceful design rather than the plain
oblong ones shown on the illustration. Be sure to build the inner box
 -62-
first so that there will be no problems of fitting one box inside the
other and allowing proper space to clear the edges without jamming and
to pass easily over the black shield which hides the girl. Cover the
black shield with black flanelette of dull finish texture and line the
larger box with the same material which gives it a sort of black-art..
principle application.
CANES THROUGH GIRL

This illusion is sometimes called ’’Invulnerable Lady” and consists of

a cabinet through which a number of canes are passed through various
holes in the cabinet after a girl has been placed therein. The
illustrations show how the girl stands facing the front of the small
cabinet when first placed in the enclosure. After the door is closed,
she turns sideways and this permits the canes to be passed through
the holes in the cabinet fitting closely about her body when she is ’
turned edgewise in the cabinet.
LIGHT BULBS THROUGH GIRL
This is a somewhat similar effect to the Cane trick with a more dra-
matic addition of using light bulbs which are burning brightly at the.
time they are being apparently passed through the body of the girl. !i-
The bulbs are the long type and are arranged to be of very low voltage
and are mounted on a rack as shown in the illustration. The rack has
metal guides and at the four comers which permit it to be guided for-
ward evenly along tracks cut in the appropriate edges of the cabinet.
As in the Cane trick the girl takes a position facing the audience
when first stepping into the cabinet and this shows her body covers
most of the openings where the bulbs come out. The cabinet is then,
turned around sideways and the electric light.bulbs are pushed slowly
forward until they come out the other end through the holes in the
cabinet. Mpre elaborate versions of this trick are made up whereby
the cabinet has an extra depth at the rear unknown to the audience
and in this compartment are concealed the series of SHORT TUBES TO
RESEMBLE THE ENDS OF THE LONGER TUBES. In this version the operator
uses a wheel similar to the steering wheel of an automobile and by
turning this, the bulb rack is supposedly driven forward by means of
a screw drive. However, the bulb rack only advances a short distance
toward the girl and then the secret rack concealed in the rear of the
cabinet is driven forward so that the short bulb ends come out through
the holes at the rear of the cabinet. This is a much more dramatic
effect as the ends of the bulbs can come out so far that it would
seem that the body in the cabinet must be completely compressed and
that there is no space whatever remaining for a human being to be
inside the cabinet.
 -63-
THREE KINGS AND A QUEEN

Three sheets of quarter-inch plywood are painted front and back to

represent playing cards 6 feet high, 3 feet wide. Performer and man-
assistant bring the Giant Playing Cards forward, one at a time, to
form a triangle and assistant holds them upright with the triangular-
shaped enclosure of cards facing audience. When separated, a girl
steps out dressed as a Queen of Hearts, or with a small crown on her
head to represent a queen. Illustrations explain the moves. Three
cards stacked as in Drawing-with girl behind in position shown by
circle marked "girl”. One assistant moves the front card toward
center of stage by sliding it alpng the floor while girl holding up
her skirts (or having fastened them with a rubberband cord at above
knee-hight) secretly walks behind the sliding card to center of
stage, where assistant B holds Giant Card upright, as in Fig. 5 and
6. Magician brings the next card forward as in Fig. 7 and places it
in position at a 45 degree angle to first card as indicated by draw-
ing. Assistant A now moves the last card sliding it forward as
indicated in Fig, 8 to position indicated in diagram. When it reaches
the position shown, the girl moyes from behind the card where she has
been to position behind this last card. Fig. 8 shows how girl moves
into the apex of the triangle while assistant A swings the card around
to bring it into position shown in Fig. 9 forming the completed tri- ‘
angle of Giant Cards. Performer fires a shot and then the assistant
' , and magician swing open the cards as shown in Fig. 10 revealing the
materialization of the queen of hearts.
WHO AND WHICH (First Method)

Requires a three sided parlor screen with material pasted over any
spaces or openings between the screen sections so that nothing can be
seen through the sections. This can be done by tacking rubber strips
of flexible material over the wooden frames at one side or other.
Also a trick bag with a bottom basted together so that by pulling a
thread the bottom can be opened up completely, a bag large enough to
cover a person completely and leave room to tie the bag over the head
at the top. Two Hindu costumes with false beard and moustaches attach-
ed to wire hooks so they can be quickly hooked over the ears. Fasten
a hook on the rear side of the middle section of screen and attach one
of the Hindu costumes tied together with a loose string. Close the
screen as shown in Fig. 1 so it is hidden from view.
Place screen in front of girl as in Fig. 2 and open out its sides so
it forms enclosure as illustrated. Girl placed inside bag which is
tied over her head by means of a piece of tape.

Performer dresses in Oriental costume complete with beard and walks to

rear of screen.
 -64-
When concealed from view, girl pulls thread in bottom of sack and lifts
sack off herself. She puts on the Oriental custume concealed on the
hook behind the screen while performer is putting on a duplicate
Oriental costume on the front side of the screen before the audience.
He executes a small amount of pantomime and walks around behind the
screen whereupon the girl steps out from the other side of the screen
and continues the ceremonial pantomime mostly with her' side and back
toward the audience. Performer removes costume and hangs it on the
hook, pulls bag over head and gathers the bottom under his feet and
stands on it to make it appear closed. Girl removes screen, folding
it up, setting it aside.- She opens the bag reyealing the performer ..
has been transported magically therein and then removes her costume
and shows they have exchanged places.
WHO AND WHICH (Second Method)
This format requires a trick screen having a secret panel in the
center which can be opened inward as shown in Fig. 1 and 2. Also a
triangular platform on casters which extends around up the edges of
the screen to permit an assistant to stand concealed behind the tri-
angular-shaped screen. Screen on platform with middle panel to the rear,
and male assistant dressed in one of the Hindu costumes is secretly .
inside enclosure. Performer and girl assistant revolve platform to '>-
show all sides of screen ending with center panel to rear. Letters
(A) indicate Assistant, (G) the Girl and Letter (P) the Performer.
Assistant steps through the trick panel to position behind the rear
outside of screen and closes the opening. Performer opens screen and
shows inside is empty. Bag placed on floor inside of screen. Per-
former dresses in Hindu costume and places girl into sack and ties it
over her head with a piece of tape finishing in a bowknot, then closes
the sides of the screen together to conceal her. Girl crouches down,
pulls the button attached to the thread with which the bottom of the
bag is basted together and pulls bag over her head. Performer goes
through various bits of pantomime bowing to the East, West, North and
South, and swinging incense burner and circling about the enclosed
screen. But when behind screen, assistant takes incense burner and
walks out in place of the performer, who really hides himself behind
the screen. Assistant keeps back to the audience making various
ceremonial bows to the screen.

Performer removes Oriental custpme, passes it to the girl who puts on

the costume while performer enters through the trick panel in rear of
screen and pulls the bag on oyer his head and stands on the bottom to
keep it closed which makes him appear to be the girl inside the bag.
Girl takes position hidden behind rear of center panel screen..

Assistant in costume walks to rear of screen and remains there while

girl dressed in Hindu costume walks out from behind screen completing
the switch and she is taken to be the performer in Oriental costume,
 -65-
■because she goes through the same ceremonial pantomime of bows and
waving the incense burner. For the grand finale, the girl opens the
screen and unties the bag revealing performer has been transported
therein. Then she removes costume .and turns around revealing herself
as the girl who was formerly tied in.the bag. Performer removes bag
from inside the screen and closes it up whereupon assistant steps through
the trick panel of the screen and remains there hidden from view.
Here are some variants of this which are suggested in the Tarbelle
Course of Magic which I will quote here:
Firs t Variation: In this methody girl is placed in bag and screen
closed around her. Performer dressed as Hindu walks to rear of screen >;
. and stays there as male assistant dressed the same way comes out in
front and goes through ceremonial. Performer gives his Hindu outfit
to girl. The moment she is dressed, she gives a signal and male assis-
tant walks off stage.
As soon as he is off, girl aomes from behind screen dressed as Hindu.
She goes through ceremonial long enough to allow performer to get.into
bag in screen. The finish is the same as before. Performer who
apparently went offstage is found in bag and Hindu proves to be the
girl. .
Second Variation: After male assistant walks off as in First Variation,
girl walks out from behind screen. To audience it appears that the
performer walked off and then suddenly reappeared from behind screen.
Now girl walks off stage. Male assistant removes Hindu garb and comes
out as an assistant this time. Performer gets into bag inside of
screen and girl rushes around to rear of theater or hall so she can
run down center aisle at proper moment when assistant unties bag and
reveals performer in bag instead of girl.
THE DON ROSE DOLL HOUSE

At the time we were performing our act at the- Court Square Theatre,
Springfield, Mass., Mr. Don Rose presented us with this illusion which
he had designed and made up for his wife. It represents a lighter and
more compact version of the Doll House Illusion. It does not require a
platform or base and therefore can be presented on any sort of bare
tabletop or bare platform. The secret is made clear by the construction
drawings which show how the girl is concealed while the front is opened
to show house empty, in a kneeling and partly horizontal position, in°
stead of the old sitting position used in the Doll House in other models.
The ankles and feet of the girl extend out the rear of this extremely
tiny doll house and are concealed (in the version that I have) with a
little white fence entwined with artificial flowers which make that part
look like a little backyard fenced in. To release herself, the girl
pulls back the bolt latches under the upper part of her body, which
allows that portion to fold downward and lie flat. She then moves for-
ward drawing her feet into the house enclosure and getting them under-
 -66-
neath her, while the performer is talking about the little backyard
and garden fence which he removes, and folds up and sets aside. At
the climax the girl releases the center of the roof which folds back
on either side permitting her to exit through the top in the usual
manner, except that from there she must be given a hand and a lift at
the waist so that she can spring out through the top.
KING TUT MYSTERY

A comedy effect Illusion. "I will wrap myself up like a mummy of

King Tut," says performer, winding himself in a very large blanket.
Assistant says, "That is the wrong way," and takes end of blanket
wrapping himself from his end. During discussion, an old man from
audience comes on stage and gets into the argument. After a time, old
man removes wig and beard, revealing he is the assistant. Blanket
unwound and reveals a girl therein. Props: A large, colorful blanket;
a "Crown" of cardboard or tin; wig and false whiskers; cane and spec-
tacles; oversize clothes to appear like old man. Needed: A stage or
parlor with a doorway in back of spot where open blanket is held up
before the wrapping takes place.
Old man outfit off stage on chair to be donned quickly. Hold blanket,
as shown in Fig. 2. • Girl offstage behind shield of doorway. Assistant
holds blanket at top edge and winds himself up. He then asks to be
unwrapped quickly. Claims he forgot his crown which he gets from chair
and places near performer. Holding blanket again as in Fig. 2. Girl
secretly enters behind it and assistant switches girl into his position.
(See Fig. 7) and girl takes hold of blanket at top, same as assistant
did. She imitates position with one elbow sticking out same äs when
assistant was posed when wrapped in Fig. 4 position. Asssistant slips
out through doorway while blanket shields him and puts on old man out-
fit, changing coat but just pulling trousers over his own. Girl
wiggles arms and bends head forward to indicate she wants crown. .Per-
former then places it on her head over blanket. Patter here fills in
time enough for assistant to slip out behind audience. Work up by-play
and talk (see some suggestions in New Edition Tarbell Course, Volume
Two) asking suggestions from spectators. Old man hobbles up from
audience and in squeaky voice says he is from Egypt. "Egypt!" says
performer, "How fortunate! We have a gentleman from Egypt to direct
us correctly. You are from Egypt, sir?" "Yes. Egypt--- New Jersey,"
he replies. Mummy unwrapped and revealed to be a girl. Old man
removes spectacles and wig, revealing he is the assistant formerly
wrapped as the "Mummy". Have shoes of girl plain and similar; to
assistant's, or have assistant kickoff low shoes before wrapping oper-
ation, and then slip into loose slouchy shoes when attiring as old man.
 -67-
THE ARTIST'S DREAM
On the stage is seen a metal framework as shown in illustration,
used to support three canvases such as artists use for large-sized
paintings. Three canvases are shown which are actually just frames
on which sheets of paper have been pasted and they are turned about
so all sides are shown. One of the "canvases" is.placed on the
framework and the performer with crayon sketches a design of a bird
or two. He plunges his hands through the paper and produces two
live birds. This canvas is discarded and another canvas shown on
both sides is placed on the framework and a design of flowers and
silks or other production material are sketched on paper. Then he
plunges hands through and produces the articles. The third canvas
is placed on the framework, performer draws the head of a girl, or
her full figure. The paper is burst through from the rear and a
live girl steps out.
The canvases so-called are manipulated by the performer and his
assistants in the following manner, or variations thereof. Canvases
leaning against the frame at the base conceal the girl who is hiding
behind them with a bag of production material. There is a secret
shade or rollerblind attached to the top of the framework in such a
manner that it can be pulled down and attached to the lower portion
of the framework on back of shelf where the canvases will rest. This
curtain is colored to match the background of the stage backdrop or
curtain. When the first canvas is shown and placed upon the frame-
work, the girl reaches up and pulls down this secret rollerblind.
She now mounts herself on a space provided back of the shelf to
support her body. After performer has completed his first drawing,
she rolls up the blind enough to be able to hand him through the paper
the first doves of production material, then pulls the blind down in
front of herself under cover of the blockout of the performer holding
the birds in front of the canvas. The canvases are now replaced with
another one each time that one is broken open until the final effect
of drawing the girl. Girl rolls shade up quietly and at proper
moment bursts through the paper and steps out. The framework is
constructed usually of iron pipe, either painted or plated and with
legs containing large casters of roller wheels so that the apparatus
can be rolled out and later off the stage. Various manipulations of
the canvases are used by different performers. Some have the girl in
place behind the curtain in the first place covered by one or two can-
vases resting on the shelf in front. Taking these off one at a time
they are shown back and front and leaned against the legs of the sup-
porting framework. When two of them are thus placed to cover the lower
part the girl descends and hides herself behind these lower canvases,
while performer takes the last canvas off and shows it about. Then as
the first canvas is replaced on the shelf of. the framework, she mounts
the shelf at the rear of the framework which is directly behind the
canvas. She can now proceed as described above.
 -68-
THE FAMOUS HINDU ROPE TRICK

There are several versions of this having been presented by stage

magicians having large show equipment and personnel to operate it.
One featured by Thurston was with a sort of mosque-like opening as
shown in the illustration which was supported by a crossbar running'
horizontally, not shown in the catalog illustration. The rope placed
in a coil form in the lower part of the opening was seen to rise and,
of course, was pulled up by means of a fishline cord until it went out
of view at the top of the opening. There it was secured firmly enough
for an assistant to mount hand over hand. In some cases the performer
mounting the rope was assisted by a wire from overhead attached to a
harness worn under his oriental clothing to enable him to mount easily
without too much athletic skill in travelling hand over hand on the
rope. Reaching the upper portion of the opening seen in the illus- •
tration, he was commanded to disappear. A puff of smoke or cloud
obscured him momentarily and when it cleared, the performer had vanish-
ed. Another version employed a mirror and the "Oriental Boy" climbing
to a certain point in the upper enclosure was seen through a sheet of
plate glass set at a 45 degree angle. -Lights played on the boy from
the rear of this glass and when he was required to vanish, the rear
lights were dimmed or suddenly put out while the lights on the front
of the glass were increased and caused the boy to vanish by. the same
familiar relection process as used in the old "Galatea" and many other
"mirror principle" illusions, using the reflecting surfaces of plate )
glass. The boy coul4 be caused to vanish quickly or to fade away
gradually according to whether the lights were switched quickly or
dimmed slowly from the rear to the front lighting.
THE LIGHTED BOX MYSTERY
This is one of the more beautiful and mystifying Illusions and has
often puzzled magicians seeing it for the first time. A paper covered
wood frame box 34" by 40" on a bare platform 62" square.. Wood frame
made of half inch by 1%" or 2" wood firmly secured on corners and edges,
fastened to platform by strong pin hinges. Paper covering pasted with
WHITE rubber cement secured on the inner sides. Performer opens front
door steps inside moving lighted bulb around inside. Steps out, closes
door and swings bulb around each side to show light through paper
proving nothing concealed behind any wall. Places bulb inside through
hole in top. Soon mysterious shadows of hands etc., appear on paper
finally clear shadow silhouette of girl materializes. She bursts through
paper of front door having magically materialized. Girl first hidden
inside box as it is turned about as brought on stage. She then moves
back through secret hinged door as shown so she is behind box. Per-
former moving bulb around in circles outside back,wall of box simply
moves bulb BETWEEN GIRL and rear wall, so she-throws no shadow. Girl
moves inside box as performer is "adjusting" bulb to hand through hole
in top of box so it hangs slightly above center. Play record music
during act to cover any paper sounds as girl then moves inside box
 -69-
through hinged secret rear door, which as shown is abput 26" wide
then fastens it with catch. Hinge of secret door is covered by being
sunk into wood. She moves hands about from sides and under bulb
mysteriously-“-finally moving around in front to show full shadow.
Hole in top should be reinforced by wood ring and cross bar to prevent
tearing paper by cord and a clamp or wood stop adjusted to make bulb
hang in correct position.
THE GIRL IN THE HAMMOCK OR DIZZY LIMIT
This illusion consists of a large net suspended on either cables from
above stage or from a metal framework of angle iron on which the net
can be hung, where there are ho "theatre conditions" to permit over-
head suspension. I will give the older or standard version of this
Illusion first and then my own Volta Spook Show "Shocker" presentation.
In both Illusions the net is shown, by performer walking around behind
it proving that it is open, and can be seen directly through, from front
to back. The front end is then gathered up on cables so that it forms
a sort of hammock and a girl is placed therein. At proper signal there
is a flash of light, a puff of smoke, and the girl has apparently
vanished.. Drawings for this are sold as "The Girl in the Hammock" and
contained in the "Thayer" group of illusion plans, including a diagram
for a special framework to suspend the hammock without any overhead
tackle.

The principle is, that behind the front of the two cornices from which
the net is suspended, is a second net (similar to the rear net that is
first seen by the audience) but of slightly larger size than the rear
net. Also behind this and fastened to the top edge of this secret or
rolled net, is a cloth of dark material such as black, blue, or dark
green. It is large enough to completely black out the rear net in which
the girl is placed. When a couple of flashbulbs are shot off accomp-
anied by a little smoke powder, the eyes of the spectators are somewhat
blinded for a second or fraction thereof-—and at this point the con-
cealed rolled net and its cloth backing is permitted to drop down and
take the place of the net originally seen by the spectators, the one
in which the girl was placed. This net is weighted to make it drop
easily and rapidly by dress weights or by strips of wire solder sown in
the bottom hem of the net. The dark cloth behind the front net can be
secured to black fishline running off backstage or toward the sides,
so that the concealed assistants can draw this cloth back a few feet
at the rearc This permits the performer to walk between the dark
cloth and the net looking upward at the net with his hands extended
as if wondering where the girl has vanished to.
 -70-
THE VOLTA "SHOCKER"VERSION OF THE GIRL IN THE HAMMOCK
In this case as the front end of the net is dropped, instead of the
girl having 'Vanished" she seems to have suddenly changed into a
"Skeleton" which tumbles out of the net in the form of a number of
bones, while the rib cage of the skeleton which is caught in the net
along with one or two spare bones seen enmeshed in the net. The
"Skull” rolls down along toward the front of the stage and into or
toward the footlights-- where it suddenly takes on a liminous hue
and leaps out into the audience. At this moment the lights of
theatre are suddenly dimmed somewhat, with the result that a scream-
ing reception io given to the finale by the spectators! Devised for
the good days of the profitable "Big Production" spook shows, this
effect was quite a sensation. An inclined platform placed under
the net caused the stuffed rubber skull to roll and bounce along
toward the front footlights and then down into the footlights them-
selves , where we had thoughtfully removed a couple of footlight
bulbs to present singeing the skull. A second "Skull" with lumin-
ous paint consisting of just a rolled up ball of cotton sprayed
with an adhesive to hold its general form, is located in the foot-
lights with a little spring device as shown in the illustrations.
This triggered by a thread release (pulled by an assistant) caused
second Skull to leap into the audience, and while passing to black-
light bulbs placed near front edge of stage, the Skull was caused
to glow with a weird luminosity.
THE DOUBLE BOXES ILLUSION
This Illusion can be worked on a platform where spectators are on
all sides as in a circus or open-air show. The girl is originally
concealed within the inner or upper box when the Illusion is ori-
ginally spun around and shown on all sides. Bottom of INNER box
is hinged and is PRESSED UP FIAT against rear wall of box. After
performer has left the four sides of the outer box swing down into
the position shown in the next illustration, the girl raises two
hinged doors in the floor which forms the bottom of the outer box
and moves herself down through them to a position resting on the
framework underneath. There she is concealed by the four sides
of the outer box which now hangs down around her on all sides.
Performer lifts off the inner box and places it on the floor which
cause the rrap door in the bottom of that box to swing from its
position against the rear side. To understand this type of HINGED
BOTTOM of box, see illustration of the inner box used in the "TWIN
CHESTS OF MYSTERY" Illusion.
When it drops down, it forms the base of the inner or smaller box.
Raising the cover, performer now carries the box around and shows it
on all sides to the spectators surrounding him. He places it back
on the framework, closes the top down on the inner box, and adjusts
it in position so that it is correctly centered, The girl concealed
under the framework now pushes up the two swinging trap doors and
 -71-
moves up' into the upper box and, of course, the base of the inner
box is now pushed up flat against the rear wall in its original
position. After the Illusion is again swung around and shown on all
sides, a revolver is fired, the girl pushes open the tops of the
boxes and makes her mysterious appearance. This illusion is one that
requires considerable skill and top workmanship to construct. It is
similar to the Mignon Illusion which has a device to automatically
raise the girl when the sides are brought up around the upper com-
partment. Mignon is a very costly Illusion and I do not believe
that there are any plans available for it in this country. I would
be pleased to hear from anyone who has or can obtain a set of plans
for it and on receipt I may make supply copies to purchasers of this
book at a little extra bonus service. Similar effects can be pro-
duced by the No. 109 in our original blueprint catalog entitled
"New Improved Nest Box Illusion." A similar effect is the "Boxes
of Budah" (Thayer catalog) which is found in this book also, but
it cannot be worked surrounded by spectators.
"SPOOK HOUSE” ILLUSION
House is made of five separate sections, which are put together in •
greenish colored stage light to add weird effect, to form a small
house like illustrations. Fig. I shows hinged roof section and the
rear wall of house. Girl is concealed crouched behind roof portion.
House is assembled by attaching rear wall to the other walls of
house by means of pin hinges, at first one side then the other.
While in position shown in Fig. Ill the rear wall slightly overlaps
the roof - and at this point girl moves from behind roof to inner
portion of partly assembled house. Continuing assembling house as
shown in Fig. IV and Fig. V, a CROSSBAR or brace is connected across
from one side wall to other but at about one foot from rear end.
Girl remains concealed in kneeling position - until roof has been
placed on and attached. She then stands up partly (in position
shown in the three lower drawings) in a bent-over position with arms
resting on the CROSSBAR for comfortable support and her legs placed
on either side of front doorway.
Now, all four doors, front, sides and rear, may be opened and specta-
tors can see right through house from all directions. If house is
placed on a platform the house may be turned a quarter turn first
left and then right so spectators can see through house. This, plus
fact that the entire house was built of separate sections, makes the
house seem completely empty. Doors closed and girl is commanded to
appear in the empty house. Roof removed and girl rises out of house.
Girl dressed as goblin or witch (with tights or shorts a la modern
witch) and'with a rubber witch’s skull or goblin mask. Use luminous
UV Mask and turn up two "black light" bulbs to play on face at this
point if you want to get the ultimate in Halloween mysticism effect.
 -72-

LARGE ELABORATE ILLUSIONS

The following are some of the more cumbersome illusions which are not
used to any great extent today because of the weight and the number of
persons needed to operate them. They also require large stage con°
ditions and equipment, such as overhead pulleys, special backdrops, or
wings to accomplish the effect.
"THE GIRL IN THE DRUM"

A heavy metal drum-shaped tube is shown and then placed on top of a

stand or cradle as shown in the illustration. Large sheets of paper
are then placed over the front and rear mouth of the drum and large
metal bands are slipped over the ends to press the paper on and to hold
it on the drum. The drum is then attached to overhead cables and
hauled up into the air. The paper is broken open and long streamers
are produced from the previously empty drum. Calvert used two girls
to take the ends of the streamers and walk down through the aisles
of the audience, pulling the long trailers, or streamers, to show
they were about 50 feet long. Next the paper is broken open and a
girl appears from within the drum.
The secret is in the stand on which the drum or cradle is resting.
What appears to be a clear space through under the stand to the back
wall, is actually a 45 degree mirror placed so that it reflects in
the familiar manner used in numerous other mirror tricks. The girl
is behind the mirror. The base of the drum has a trap door which
permits the girl to secretly climb up into the drum at the time that
a giant sheet of paper is being held in front of the drum. Just be-
fore the metal band is slipped over it the excess paper is tom away.
The girl also carries with her the pleated silk streamers, if such are
to be used in the show.

THE EXECUTIONER'S DREAM

This is another immense sized Stage Illusion which is not very prac-
tical for average sized shows and therefore is seldom seen nowadays.
As illustrated there is a large stairway leading up to the hangman’s
gallows. Without going into too much detail, the performer in the
show who is to be executed makes his escape down through a tube or
chute back of the stairway (which is turned sideways to the audience)
and not as shown in the catalog illustration. The steps at the rear
side are backed with shields of material which match the background
and behind this is a sort of chute such as the kids use to slide down
at children's playgrounds. The chute is lined with oilcloth, or
plastic fabric, to enable the actor to slide down freely and on into
the steps at the base of the stairway. There he remains concealed. )
• X* ■

The performer, when being wrapped in the large cloak which is held
up before him by two assistants, is given plenty of cover to make his
escape into a secret trap near the head of the stairs and the cloak is
 -73-
wrapped around a wire form similar to that used in the Asrah Illusion,
to resemble the form of a human being within the cloak. The form is
attached at the neck to the hangman's noose and placed over the
gallow’s drop. An assistant dressed as a high priest, pulls a leyer
and the cloak enclosed presumed performer, drops through the gallow’s
drop and has apparently been executed. The priest shoots at the
dangling form which drops from the gallows to the stage floor and
collapses, showing the performer has vanished. The priest throws off
his robe and shows he is the performer. The performer makes his
escape from the stairs, or steps, either to the backstage or through
a trap and dons the high priest’s robe in order to complete the
switch for the final effect.

KING TUT’S CHARIOT

This has been used by some prominent performers in several slightly
varied versions. One version as illustrated for producing two girls
who are to be used in other illusions. It is accomplished by con-
cealing the girls seated sideways with their bodies against and con-
cealed in the two double sidewalls and with their legs extended along
the double floor of the chariot. In some respects this is similar to
the Palanquin Illusion, or Jam Box Illusion and based on the same
principles. A variation of this Illusion was used by Thurston, who
made his entrance in the third act of his show, seated in a chariot
similar to that shown in the picture. He would step out of the
Chariot which was then seen to be otherwise empty and pull the
curtain down from the top. When this curtain flew up, a girl was
found to be seated in the same seat. The principle in this variation
was that the chair on which Thurston was sitting, had a hollow back
and a girl was concealed seated directly behind him. The upper part
of her body concealed by the back of the seat and her lower legs
concealed under the lower part of the seat. When Thurston exited,
the girl tilted the seat forward permitting her to get up and then
seat herself in the chair.
BUZZ SAW ILLUSION
This Illusion has been produced and presented in several versions,
some simple, and some elaborate, ranging from carnival and sideshow
use to elaborate stage versions employing several assistants. With-
out cluttering this volume up with various versions and different
forms of apparatus for this illusion which would require many pages
of space for an illusion which will be used by comparatively few of
the average reader’s presenting moderate-sized shows, I will cover
the important principles briefly. The reader interested and with
sufficient assistants, can obtain the various versions explained in
building plans provided by various dealers..
The following is a brief resume of versions. (1) Performer in sur-
geon uniform with assistants dressed as nurses, carry girl to a
large table or what appears to be a giant-sized operating table.
 -74-
Over this is hung a frame containing a motor and buzz-saw. Assistants
manage to get around in front and obscure view of spectators for a few
seconds while a fake form is pushed over the center portion of girl,
to simulate the center portion of her body. The girl bending at the
waist allows her body to sink down into a secret space provided in the
table-like apparatus. Straps are placed around the girl at various
points including at the top and bottom of the fake half-body, which
helps to conceal it at the points of junction. The saw is now set in
motion and brought nearer and nearer until it apparently saws directly
through the middle of the girl. Again the assistants sort of gang
around in front of the girl’s body while she is being unstrapped from
the operating table and brought back to a sitting position and the
fake form disposed of in the depression of the table. Parting so
girl can be seen on table, apparently just unstrapped, girl is now
lifted off ehe table and brought forward to show that she is miracu-
lously unharmed.
(2) Another version offered by U. F. Grant, varies in that the girl
is placed on the table face downward instead of face upward. A fake
form, this time representing the portion of the body from the buttocks
to the shoulders, is worn on the girl and is strapped down to the table.
This part of the fake body is where the saw passes in this case. The
girl bends her body backward and allows the stomach portion to bulge
downward into the space in the operating table. The instructions are
available from U. F. Grant, Columbus, Ohio. The earlier version ’•
where the girl is laid face up on the giant operating table, is ex-
plained in plans sold by Abbott and Thayer.

THE GIRL IN THE DRUM

Specifications: The properties for presenting this illusion consist
of a metal drum having loose rings for holding paper heads in place,
a box stand supported on 4 legs, and a small frame holder or rest for
drum.
THE DRUM. The shell A,A,A 1-2-7 is 19" wide and 30” diameter and is
made of sheet iron of about 16 to 18 guage. This is bent and welded
or riveted together to reinforce shell of drum, These can be riveted
to shell of drum and strip of iron % x 1" are cut in between hoops,
C-C Figs. 1-2-7 and riveted on, to strengthen shell. Four rings D-D
Fig. 2 are riveted to hoops as shown, for lifting drum with chains.
Metal rings D-D Fig. 1-7 are bent and welded together to fit over ends
of drum to hold paper heads in place. These should be made with a
slight tapered fit so as to hold paper tight. A trap 12" sq. E-E
Fig. 1 & 2 is cut in opposite side of shell from lifting rings and is
hinged to swing into drum as shown. The stand or cabinet A-A-A Figs.
3-4-5 is made of wood in the form of a box having top, bottom, sides,
but no front or back. The stand is supported by 4 legs fastened on by ■
means of floor flanges and pipe nipples so legs can be removed for
packing.
 -75-
A trap B-B-B Figs. 3-4-5. is cut in the top and hinged on front side of
cabinet with spring hinges. The sides of box C-C Fig. 3 are grooved to
receive mirror at an angle of 45 degrees as shown C - Fig. 5. These
grooves should be wide enough to receive good strong backing for mirror.
The box should be lined on sides and bottom with plain cloth and have
strong contrasting stripes or ribbons D. Fig. 5 glued or painted on to
cross bottom diagonally from corner to corner and on the sides from
lower front corners to center of mirror and along front of mirror ex-
cept that these should be only half as wide as others as the reflection
gives the same width. The bottom reflects in mirror and gives the
appearance of a solid back. The sides are reflected and give the
appearance of seeing the full depth of the box. A small holder or
frame E-E Fig. 3-5-6 made of wood and having no bottom, the top cut
out to receive drum, is placed on top of stand when working illusion.
Operation: Little needs to be said regarding the details of presentation.
The girl is, or course, resting behind mirror in drum stand. Drum
shell is shown and paper heads clamped in place by means o£ the two
ring bands. Care should be used to show that the drum is empty up to
the last moment. Now the two fly lines are hooked into the rings on
drum shell and drum hoisted into position to rest on stand while the
performer rapidly sketches some object with crayon on paper drum head.
This is to fill up time while girl enters drum through traps. When
sketch is finished, drum is hoisted in air some distance and flags,
silks, etc. produced by performer thrusting finger through paper and
girl placing silks etc. in his hand. Final effect is. reached when
girl breaks through paper and is assisted to stage.
THE BUZZ SAW ILLUSION
Specifications: This effect consists of a trestle-like frame, having
a circular saw mounted in a swinging frame, and pivoted at top.
The four uprights A-A Fig. 1-2 are bolted to top crossbar B-Fig. 1-2
and crossfeet C-C Fig. 1-2 are bolted to lower ends of uprights to
give greater rigidity and strength. Table top D-Fig. 1-2-3-4 consists
of a frame, having an opening in center, and fits between upright
posts about 24" from floor. A second top frame E-Fig. 1-2-3-4 is
fastened on top of frame D, as shown.
Trap doors F-F Fig. 1-2-3-4 are cut approximately to shape of body
and are hinged at ends with spring hinges, which allow them to drop
down, when pressure is applied as shown in Fig. 1. Straps are pro-
vided for securing assistant to table top as shown in Fig. 3.
Rails G-G-Fig. 1-2-4 are bolted to uprights under top D, and serve to
stiffen top and also to mask the curve of. bottom H-Fig. 1-2-4, which
is made of thin plywood bent as shown and screwed to rails G-G at edges.
This forms a box-like container into which a portion of assistant's
body drops as in Fig. 1.
 -76-
Safety Bar K-Fig. 2-3-4 consists of a flat bar of steel which slides across
traps in top and under lug L-Fig. 2-3 on opposite side. Contact points
M-M-Fig. 4 are placed on safety bar in such position that motor cannot
be turned on until safety bar is closed (see wiring diagram.)

Swinging frame N-Fig. 1-2 is swung from top bar B with shaft and boxes
as shown. Strong springs O-Fig. 1-2 hold frame back as shown in Fig. 2.
Circular saw P-Fig. 1-2 is about 12” to 14” diameter and turns in boxes,
mounted on lower ends of swinging frame, so that saw clears table by a
fraction of an inch.
Bolt runs from saw pulley to motor which is mounted on shelf bolted to
swinging frame as shown. Handles Q-Q-Fig. 1 are fastened to lower end
of swinging frame for operating saw. Electric switch is placed near
saw on swinging frame, so operator may quickly start and stop saw (see
wiring diagram).
Corset R-Fig. 1-3-5 is made in two sections, with a small space between
the sections being held together by rubber elastic cords as shown in side
view Fig« 5. The front sections of corset are made of papier mache, of
a size to just fit over assistant's body. The back sections have strips
of elastic webbing which hold corset in place on assistant’s body. This
is a rather dangerous effect, so great care should be exercised to see
that workmanship and materials are of the best.
Presentation: Saw and framework standing in center of stage. Performer
stands behind table, starts motor, and cuts a strip of wood in pieces to
show saw is real. Assistant is now introduced (wearing corset under
clothes) and takes place on table and is strapped down as in Fig. 3.
As she is being strapped down, she allows her body to sink into table
as shown in Fig. 1. The audience, of course, does not realize this as
the corset which rests on edge of table top gives the appearance that
the assistant’s body is still above the table top. Under the cover of
strapping assistant down, the safety bar K, which has been standing
open, is pushed in over assistant’s body until it locks under lug L on
opposite side.
The effect will be heightened if a strip of adhesive tape painted flesh
color is glued over joint between sections of corset, and the assistant’s
costume is made in two pieces, so that after strapping down on table,
clothing is drawn back slightly apparently showing strip of flesh direct-
ly in path of saw.
Performer, standing back of table, now throws switch, starting saw.
Grasping handles he pushes saw across body, cutting strip of adhesive
tape in two. Allowing saw to return, he unstraps assistant, withdraws
safety bar, pulls clothing over act, and she steps forth, unharmed.
 -77-
NEW BURNING ALIVE ILLUSION
This Illusion consists of a coffin shaped box, or casket, A-Fig. 1-2-3,
which rests on legs B-B-Fig. 1-2 which are made of pipe, having the
proper cross bracing to give strength. The top of legs are f itted with
floor flanges C-C-Fig. 1-2, which are bolted to bottom of casket with
i bolts and wing nuts, so that they may be taken off for packing.
The casket A-Fig. 1-2-3, full size details of which are shown in Fig.
4-6 consists of a solid bottom section D-Fig. 1-2-6, -to which the sides
and ends are hinged at E-E-Fig. 1-2-3-4-6, the top F-Fig. 1-2-6 is made
loose to be lifted off, and has ledge which holds it in place.
The sides and ends are made of thin panels, reinforced around edges/ ■
with rails and pilasters, as shown in Fig. 4-6. They are hinged to
bottom section with long strip hinges, before base moulding is put on.
These hinges can be made with loose pins if it is desired to take box
apart. The hinges are placed as shown to deceive the eye as to the
thickness of base, and also to conceal the inner frame. G-Fig. 1-2-3-6.
This inner frame G consists of a wood frame of the height shown, on
which duplicate tray—H-Fig. 1-2-6 rests when fire is burning.
The releasing mechanism for sides and ends is placed on the top edge
of this frame, and consists of 4 levers-H Fig. 3-5-6, placed in center
of each side and end. Levers are operated by a steel cable K-Fig. 3-5-6
which runs around edge of frame and over pulleys L-L-Fig. 3-5, which
are placed in corners. Levers I are fastened to this cable with short
pieces of cable M-Fig. 5. This allows each lever to be operated indepen-
dently when fastening sides, and also by allowing a little slack in the
side pieces, the ends are allowed to drop first, thereby stopping the
tendency of sides and ends to wedge if dropped all at once. Small
rollers are placed on levers I-Fig. 5 so they will operate easily, and
small springs bring levers back after releasing steel plates N-Fig. 6
are screwed to sides and ends to engage with stab levers.

An extra piece of cable is fastened to cable in proper place so that

assistant when lying in bottom of casket, by pulling this cable, re-
leases the sides and ends. A pull on cable, not only releases the sides,
but by continuing to pull, levers force ends and sides to fall down.
The ends will fall easily as they are small, but the sides being heavy
will need an added pull, which is accomplished by long coiled springs-
O-Fig. 6, hooked to the bottom edge of sides near ends, and running
across from side to side under ends as shown at O-O-Fig. 1.
Two trays are used: One shown at P-Fig. 1-2-3-6 is used for placing
assistant in casket. The other tray H-Fig. 1-2-6 is held in top of
casket until released by levers R-Fig. 1-2-6, when it drops down onto
inner frame G-covering assistant when fire is lighted. Bottom of this
tray is set up in tray, to allow more space for assistant. All fire
is placed in this tray, which should be metal covered to prevent burn-
ing. Sides and ends of casket are also metal lined as shown.
 -78-

In painting this Illusion, the main object is to conceal the thickness

of base section, and also to give the impression that the sides hinge
close to bottom. By painting the base moulding in strong contrast to
sides, the eye naturally follows this line. Long bar handles can be
i painted on sides, or can be real. Interior is best if painted black.
In working this Illusion, tjhe Casket is standing on stage with duplicate
tray locked in top, and tray for assistant inside on bottom. One end
of casket is let down (this can be done by.operating releasing lever I
from the outside) and tray for assistant removed - assistant is placed
on tray and slid into casket, and end of casket closed. Performer, as
he lifts off top, pulls release R.causing duplicate tray to drop down
over assistant, where it is stopped by inner frame. Fire is now light-
ed in tray, care being used that no liquids drop down on assistant.
At proper moment, assistant pulls cable, causing sides and ends to drop
down exposing the duplicate tray with fire burning.

i "THE WOMAN IN THE(GLASS) CASE"

This Illusion invented by magiciari Devlin was presented once in a New

York theatre in the days when one extremely beautiful and elaborate
stage illusion could be featured alone as a "complete act" in six •
! minutes of a vaudeville routine. A nickel framework as illustrated
supported a glass case composed of sheets of glass on all sides. It
Was an extremely costly presentation representing vast investment.
Today, it might be made with plastic and be far more practical now
than it was in the old days, when it proved to be too bulky, cumber-
some and heavy to make it a practical show property. In fact, it
inspired me to create in those days a simpler and lighterweight
illusion far tjhe Grpat Leon who used it in his act. I will explain
the latter illusion immediately following the present one.
In the Devlin Illusion the performer walked around in back of the
Illusion to prove that no mirrors were employed, after the doors'
had been opened to show the interior. Suddenly flowers were seen to
filter down and fill the sides and doors of the Illusion closing the
interior from view for a few seconds. The performer opened out the
doors as shown in illustration revealing that the woman had appeared
mysteriously in the glass case.
While the lower part was of transparent glass, the upper part of the
framework contained 45 degree mirrors behind which a girl was con-
cealed, so the mirrors gaye the effect to the audience that they could
see completely through the upper part of the framework as well. The
Illusion at one time was accomplished by releasing a number of Spring
Flowers concealed in the upper metal rim or framework of the glasses.
The glasses on the sides were being actually double sheets of glass
with a space between them. These blocked the view of the audience
long enough'for the girl to raise a trap door in the upper compartment,
of the framework and lower herself into the center Of the case.
 -79-

I believe that a later model was made so that roller blinds were
placed behind the top rim of the glass sides of the case and by
releasing a catch, these blinds which were weighted on the lower
edge, would pull down and block off the view of the interior at the
proper moment. These blinds carried a floral design which appeared
about the same as the Spring flowers originally used.

VOLTA'S GLASS CASE ILLUSION

A simpler framework of nickel-plated 3-inch wide chanel metal hold

four glass sides of a 6-foot "glass" case, which was raised on a
skeleton base of open work nickel piping on casters. It was brought
out and shown on all sides and the performer walks behind it to
show it was clearly transparent, A large piece of cloth of attrac-
tive Oriental design brought out and shown on all sides, is then
suspended on two ropes let down from above so that it can be pulled
free of the floor. It is then swung back to be wrapped around the
glass case where it is temporarily fastened. On firing of a pistol,
cloth is pulled upward by the cables, into the flies and a girl is
found standing within the "Glass" Case. Today where there are no
overhead wires available, the performer can obtain the same effect
by using two or three long bamboo poles and attaching the cloth to
the poles at three points, two assistants walk around the glass
case and thus surround or enclose the glass case momentarily from
view by the cloth.
The Great Leon's assistant, George Flood, who used to visit me often
when the act was playing in New York, to obtain ideas, equipment,
and apparatus from me for the use of Leon, purchased this idea .and
plan for construction for Leon. Oddly enough, Leon, who was a very
good friend of mine, did not ever come to make his purchases person-
ally. I can only surmise that he did not want to concede that the
material he obtained was in any case created by another magician.
As Leon was a most brilliant and original creator of many Illusions
this always seemed odd because he had so much to his credit both
before and after this incident.
My illusion was comparatively, lightweight and very practical. The
rear wall of the case was actually a sheet of celluloid especially
made so that it had very little of the usual slightly "yellowish"
tinge common to celluloid in those days. Today beautifully clear
and flexible plastic sheets are obtainable and the entire Illusion
can be constructed or "Lucite" or "Plexiglass" of the non-flexible
type-- except for the rear wall which could be of flexible plastic.
As the cloth is shown and attached to the pulleys and hauled slightly
aloft, then swung back to be wrapped around the case. The performer
or one of his assistants moves a pair of steps to the back of the
transparent case while mounting the steps to fasten the cloth around
the case at the rear with a couple of large hook and eye grommets.
 -80-

At this point while performer is bringing the edges together around

the case toward the back, a girl concealed in the steps rises through
the steps trap-door, and stands of the ridge behind the case. She
seizes little tabs on the left-hand edge of the flexible rear wall,
pushes it inward in a U-shaped form and spinning her body around it
closes the rear wall fitting the edge of the plastic back into the
grooves provided for it in the rear framework. When the cloth is
whipped away, there is the gitl enclosed in the "Glass Case" myster-
iously produced under seemingly impossible conditions. Within an
all-glass enclosure, all within a period of a few seconds of time
lapse.
For the trick steps which are used and have been used for many years
by magicians to load and unload assistants secretly, in connection
with stage illusions from or into stage illusions, you will find
explanations of the old models and also the new see-through model
steps in other parts of this book..

VOLTA'S GROWING HIGH HAT

Performer produces rabbits from high hat, then places the high hat
and rabbit into a small, cabinet. Closing the curtains he says he
has always wished a rabbit big enough for not just the children,
but for himself to play with. When he was a little boy, he always
wanted a rabbit and never had one. But as he grew up and became a
magician, he has produced lots of rabbits of a size that children
could play with, but he had grown too large to play with the small
rabbits. Assistant whips back the curtain and there is revealed a
giant high hat from which a giant rabbit is seen partly emerging
and nodding about. The rabbit proves to be a girl in a rabbit
costume who is assisted but of the high hat by assistant or per-
former. She executes a hopping about bunny dance, and then joins
the performer in a bunny hug dance in which they spin off the stage.
Performer reenters stage wiping his brow. Says he guesses he is
too big to play with the rabbits after all.
The construction is simple. Against the back wall of the small
cabinet is a cut-out replica of a giant brim of a high hat. This
is hinged to two black metal banks of aluminum extending about two
feet or more and the opposite ends of these are hinged to the rear
wall of the cabinet. This is fastened to the rear wall with a
turnbuckle so that when it is released, it can be swung forward to
position just back of the center of whatever sized cabinet is
employed. This hat rim has a turned over edge. In the inner part
where the crown would be is a deep rim into which a sheet of flexible
black plastic that can be bent or curved to represent the crown of a
high hat, can be fitted. This is hinged to the floor so it lies flat
but can be swung forward. On floor of cabinet it is backed with a
piece of cloth to match the back of the cabinet. The bunny costumed
girl is concealed in the double floor (bellows type) which hinges
 -81-

open slightly at the rear end to conceal her. At the beginning of the
illusion when she is stretched out flat. This is the application of
the old perspective principle upon which many cabinet floors and magic
tables are constructed for such illusions as the "Dida" and the "Asrah"
illusion. When curcains are closed, girl rises up through Che trap
in floor, The bellows closes up so the platform will appear thin all
around. She swings out from the rear wall the camouflaged hat rim
and swings up the piece of flat black plastic and curves it in a half
circle or half tubular form to fit into the gsjoves of the hat rim.
She then steps into the circle or half circle formed by the hat rim and
crown and is ready to be discovered. Hook and eye catches are used to
fasten the wood rim co the plastic crown on the inside where the girl
is kneeling so that it will not be knocked up accidentally when she
jumps out of the high hat. Cover the under side of the half hat rim,
which will be toward the audience at the time when it is fastened
flat against the rear wall. Cover the rear wall with figured black and
green, or a dark blue and green, felt. Fit the rim and the supports
into a depression cut into the rear wall of the cabinet. We made one
of these in the old days when it was desirable to mystify magicians
as well as to entertain the audience, by having a removable back wall
which was mounted on the platform. This required a very neat job of
camouflage for the depression and the hat rim and supports.

VOLTA' S SENSATIONAL'SHOCK? 1 BATH TUB MYSTERY

This was perhaps One of the most startling effects with a touch of
humor and surprise plus a "comedy of errors" procedure and a real
"SOCK" climax for the finale. Performer announces his presentation
"for the first time" of what he considers his "crowning achievement" of
his entire carear. Says he, "The greatest problem of we who are travel-
ing, performing artists, going about the country and arriving suddenly
in different cities, is to find suitable living accomodations in the
limited time allowed. Often we arrive during a convention or celebrat-
ion where there is not a room, a chair or a billiard table to sleep on.
Finally I perfected my greatest invention, whereby in one of my small
cabinets I am able to produce as I need it, each one of the necessary
rooms for confortable living. In other words, a parlor, bedroom and
bath." Directing his assistant to pull the curtain of cabinet that
has been shown empty, performer asks the audience to time him with
their watches as he hopes to produce in a few seconds first a comfortable
parlor. A Chinese gong ticks off the seconds offstage or down in the
orchestra. At the proper moment, performer fires a gun and the assist-
ant whips back the curtain of the cabinet as performer bows to the aud-
ience and makes a gesture toward the cabinet behind him and without
turning around he announces, "There is my first room — a parlor."
The audience bursts into screams and howls of laughter as something
has apparently gone wrong. Performer has profor what they see is a
tiled bathroom with a tub in the center and a nude girl bathing her-
self with a large sponge! The girl looks up, discovers her predicament
and screams! Performer and assistant who have been both facing the
 -82-
audience turn around, and discover what has happened. Performer shouts,
"Close that curtain.’" Assistant flies to pull the curtains to, but the
rings of the curtain seem to be caught and will not slide back to close
them. Performer hurries to cabinet and tugs at curtain---which then
pulls off the snap fasteners and falls over the assistant. He stumbles
around like blind man’s buff with the curtain hanging over his head and
hands’ Performer rescues him from walking over the footlights as the
excitement and laughter continues.
He pulls the curtain off the head of the assistant, then performer
hurries into the bathroom where the girl is holding a large 2-foot
sponge in front of her. He picks up towel from the towel rack and
drapes it over the girl. There it is seen draped over her head and
shoulders. Performer walks to the stage front center, breathes hard
for a few moments while he is speechless, pulls out a handkerchief
from his pocket and wipes his brown and neck. Then he says, "Well,
you can see what happens when we try something for the first time be-
fore an audience. That’s what gives us magicians our grey hair." He
walks to table, picks up the revolver again and fires at the towel-
draped form of the girl. It suddenly collapses and falls into the tub.
Performer walks toward the cabinet, picks up the towel, shakes it out
showing it on both sides, proving the girl has completely vanished. He
walks forward to front center again. At that time a voice from the
orchestra pit calls out, "Where did she go?" "What's that?", inquires
the performer. Voice cries out again, "where did she go?" Performer
looks back toward the cabinet and then calls out, "Where are you?"
A feminine voice from backstage cries out it
"HERE I AM,” The girl attired
in a bathrobe but with her one arm only in sleeve of robe and other one
out, holding the bathrobe up around her, comes running down the aisle of
the theatre. As she travels up the "run down" to the stage, she loses
one of her bathroom slippers on the rundown and arrives hopping up
and down on one foot to take the extended hand of the performer. There
they both take a bow and the girl exits. The audience applauds and
performer turns aside making gestures for the girl to come out and take
a second bow. Apparently she refuses for performer has to walk off to
the wings and lead her out by the hand. She hops out and takes a bow
and then takes the slipper which assistant has picked up from the run-
down and while holding the hand of the performer, she tries to put the
slipper onto her foot with the other hand without much success between
bowa. She then hops off stage FINALE.
One performer who had evidently heard of the sensation that my novel
presentation of this illusion created, appeared once in the Lincoln
Square Theatre in New York. In that building I had my New York Magical
Studio. He however did not know the comedy of errors form of surprise
DRAMATIZED PRESENTATION I had conceived and used with the Illusion.
The result was that he just produced a bathroom in an empty cabinet so
the illusion died completely with the audience. I was tempted to give
him my "dramatization", but thought it over and changed my mind, as I
might wane to use it again. The construction of the Illusion is1 fairly
 -83-
simple being based upon the same principles as the "Bridal Chamber" and
the "Music Room" production whereby a fully decorated and furnished room
is to appear in an otherwise empty cabinet. The walls are double on back
and sides and only a curtain on the front. The inner walls are in two
parts and hinged so that the upper portion may be let down so that it
covers the lower half. The inner side of the upper portion of the wall
is covered with "tileboard" such as used to line bathrooms and showers.
The upper part or half of each wall of the room is either painted with
attractive underwater scenes or is also covered with a piece of tile-
board to represent a completely tiled bathroom. I prefer the lower
portion to represent tiled walls only. The tub as shown in the drawings
consists of a piece of half tubing curved to represent the curved top
edge of the bathtub of the old type and this is painted with white
enamel to represent the rim of the edge of a white enameled tub. A
piece of white plastic large enough to fit around the inside this rim
is used to represent the tub as shown in the sketches. The rim leads
back to the back wall of cabinet where it is attached with metal hinges
so that it can be folded up flat against the wall and concealed by
the upper portion of the rear wall at the start of the Illusion. After
the walls at side and rear have been folded down, this fake bathtub
rim is swung down into position and fastened to the floor of cabinet
by pushing a couple of metal prongs or tongues under metal hasps in
the floor. The white plastic to form the bottom of the tub is concealed
against one of the side walls where it naturally lays flat until it is
brought out and fitted under the edge of the fake tub rim and locked
into position. A curved groove cut into the floor or platform of cabinet
provides a groove into which the lower edge of the white plastic is in-
serted. Locked into a curved position between the floor groove and the
upper rim of the tub, the plastic now represents from the front the
end of a white enameled or porcelain tub. The girl takes the position
kneeling apparently inside the tub, and holding in front of her a giant
sponge composed of several "flat" sponges sewn together to make one big
one. This is used to apparently hide her nudity when it is held in
front of her after she "discovers" that she is being viewed by the
entire theatre audience, while taking a private bath. At the back of the
tub is an opening thru which the girl can exit via a board passed through
from a picture frame in the back scenery or she may exit by crouching and
running backward to a back door in the scene after the curtain which
came loose from the cabinet is tossed accidentally on purpose on the
floor in front of the curtain.
When the performer places the large towel over the head and shoulders of
the girl, he is really placing it over ä wire form which represents the
head and shoulders of the girl and is made similar to the one used in
the Vanish of Girl from Chair Illusion. This is hinged to the back wall
on either side of the secret entrance and is made so that it will be
held up by a catch only so long as the thread is not pulled by the assis-
tant. Under cover of the giant towel which drapes from one side of the
tub to the other, the girl easily makes her exit. When the thread is
pulled to release the catch, the wire frame drops down into the tub let-
ting the towel fall with it.
 -84-

EAST INDIAN SACK MYSTERY

King Felton

EFFECT: Magician's assistant first dons a coat, borrowed from one

of the committee. She is then placed into a large examined cloth
bag which is tied and sealed over her head, then over all is placed
a large cone-shaped hoop skirt affair;; thru the small opening of
which the top of the tied and sealed bag is passed, and held fast
by spectator.
Suddenly, the girl pops forth from beneath the hoop skirt canopy,
minus the coat, while same is found inside the bag which is still
being held, and which still remains tied and sealed.
METHOD2 For this baffling mystery you will need: —
1. Two large sacks—made exactly alike--of some opaque light weight
material. Ordinary sateen is both durable and satisfactory. The
color is optional. The sacks are not tricked in any way.
2. A canopy—hoop-skirt affair, made rather cone-shaped over a
series of wire rings, the largest rings being about 36" in diameter,
and graduating smaller towards the top—which ring should be about
3" in diameter, or large enough to permit the mouth of one of the
tied up sacks to be pushed up thru the small top opening of canopy
when girl is inside of same. The canopy is also open at the bottom.
In addition to the regular costume worn by assistant, she must also
wear a sort of loose pair of bloomers at the front of which is a
large pocket with rubber elastic along the top edge, so as to keep
the pocket fairly well closed. The tegular costume, worn over the
bloomers should be arranged for easy access to pocket, as here is
where the extra large sack is first concealed, and into which the
other sack goes after the exchange has been affected, all of which
is accomplished under cover of the canopy.
KING FELTON'S OWN PRESENTATION ROUTINE;
Call your committee up from the audience and DISPLAY the sack.
Together with the sack you must have 2 or 3 pieces of small rope
about 15 inches long and a needle and thread, also a very large
RED BANDANNA HANDKERCHIEF.
Now fold down the sack to the floor, in center of stage. REMEMBER
that the lady assistant has DONNED one of the committee men's coats.
She enters the sack and the magician pulls same clear up over her
head and wraps the bandanna handkerchief around same and ties it.
Now pretend you hear some one in audience say something about whether
the girl is really in the sack—and remark, "Oh, so you think she
isn't really in the sack, do you?" Now pull the sack down after you
have again untied it and placed the handkerchief over your shoulder.
 -85-

Pull th?, sack just far enough to let her head stick out of same and
ask her to smile at the folks. The idea of all this is to give her
time enough co get the coat off’ and the sack from under her bloomers,
place tie coat in the sack (the one she just took from her bloomers)
and pucker up the opening.
Now in the act of lifting the sack back up over her head again, the
lady places the inside sack up so the magician can get hold of it
without making a suspicious move. He pulls the inside .sack up about
6 inches above the outside sack and this is where he again wraps the
handkerchief around it to cover the outside mouth of sack, Now place
the canopy over the sack and at this time the lady pulls the outside
sack off, which she does before the.magician asks the committee to
hold the piece sticking up thru the canopy opening.
Now ask one of them to hold.the sack.and all this time the girl is
stepping out of the outside sack and very carefully folds it up
nicely and places in her bloomer pocket under her dress. She shoülcj
stand on the edge of the other sack so as to make it seem as if she
were still in it should the committee pull up on it.
A rope or two or three and even the needle and thread can be used to
sew the mouth shut if needed to kill,.time; She can cough when all
is ready, or can say "Say, how»long does it take to tie me? It's
getting hot in here." By this the magician knows that all is ready
to go, and while, the committee is still holding the sack, the magi-
cian pulls out a gun—.fires it—and out.from under the canopy pops
the girl. Now let them take off the canopy and try to get his coat
out without untying'the sack. ., .
THE ASRä H ILLUSION

This effect comprises two very important items, a table and a wire
form. The more care used in the mechanical construction of these,
the more success the illusion will manifest. The table top is made
in box form and the material should be of three-ply veneer, Screws
should be used and all inpide comers re-inforced with angle blocks.
The legs are removable and each.leg has a stair rail bolt imbeded at
rhe proper place and a wing nut serves to hold firmly in position at
the corner angle.

A good set of ball bearing rollers should also be used in table legs,
The central portion of table top consists of a false top, composed of
"gore” stock, and which can be procured from any dealer in shoemakers*
supplies o This material, which is a sort of a rubber cloth comes in s
strip about 5 " wide, and these strips of the proper length are sewed
together lengthwise, excepting at the center opening, and which should
overlap to allow of easy entrance into the table.top. All outside
edges of this rubber pannel are securely fastened to the wood of table
top and when nicely streched and finished, at a very short distance
appears solid.
 -86-

A profile right angle pattern should be first cut out of heavy card-
board or thin wood, and this is used as a starting base to work from.
All joints should be nicely soldered and finished smooth, so that
cloth cover will not catch on protruding ends. From one side of this
form must also extend a cradle, or in other words a counter-balance,
and which is really a part of the form itself and permanent.

By referring to the second plan drawing it will be seen that the lift-
ing mechanism is very simple. The ends of the two cords are fastened
to the frames at "C" and "E" and are then carried straight up and
through screw-eyes "A" "A" in fly batten and then off to side
through another screw-eye and down to floor, from where they go back
again to screw-eyes in floor in rear of table and up to cradle and
fastened at points "D" and "F".

The action of this form is operated by assistant off stage just behind
wing. To get correct idea of this arrangement the best way is to
first arrange a small model with a few pieces of wood and string them
up, using a box on floor under the edge of an ordinary table top.

PRESENTATION: The form rests at the extreme rear edge of Asrah table,
leaving top clear. The lady assistant is placed under hypnotic control,
and placed on table. A cloth of light silk is then put over her and
performer stands at one end and a second assistant at the other. Under
cover of action in raising sheet to cover her, lady enters table top
through, opening in top panel and assistant at same time pulls down
slightly on cords. This will cause the form to swing forward to same
position as that of where cradle was first placed. Cloth is then
spread over from and the balance carried through as usual, with cloth
being finally jerked away from from while in mid-air, the girl having
vanished entirely. If desired a hoop mpy be passed over suspended
form, which iß made same as in Aga Goose Illusion.
"NEW CANVAS BOX ILLUSION" --Thayer
The box is made of six wooden frames, each frame covered on the out-
side with canvas. All frames are solid, excepting the back one,
which, has an extra frame nicely morticed into groove in the back of
main frame. This frame is hinged at the top and is latched at the
bottom with two spring bolts, one near either side and which are re-
leased by a plunger in bottom rail of back panel, When tacking canvas
to frames the tacks should be placed near edge of canvas and about two
inches -apart. Great care must be taken when tacking canvas on trap
frame-in order to have canvas slightly overlap the joint and by plac-
ing the tacks very near the edge, the trap cannot be detected
To release trap from.inside, a small screwdriver or rod is inserted
in hole in bottom of rail and pressed down at same time, pressing out
on back panel. When out of cabinet panel is pressed back and spring
catches hold it where it was before.
 -87-

The important detail in presenting the experiment rests in the manner

in which the long strap is placed around the cabinet. Two straps are
used; one long one, which is placed entirely around the cabinet verti-
cally, and a shorter one which is fastened around horizontally at the
center. The long strap is first laid out lengthwise on the floor and
bottom panel placed directly over same.
In arranging correct position of strap, the performer in passing to
the rear, raises up rear edge of panel and kicks portion of strap
underneath. This serve,s as means of obtaining the necessary slack
when rear portion of cabinet is pushed out in making escape.
One or two ordinary screens may be placed directly around the cabinet
in order to keep the spectators from catching sight of rear panel at
an acute angle.

"THE DEMON OF DOOM!” (Thayer's Improved Chinese Torture Stocks Illus^oq)

SPECIFICATIONS: This illusion consists of stocks for wrists and neck,
mounted on uprights of such height that the person placed in the stqcks
is in kneeling position. •• Cross feet AA Fig. 1 & 2 are bolted to
uprights BB Fig. 1 & 2. A good grade of soft wood is suitable for
this illusion, but the center core of the stocks should be of hard-
wood. The stocks are made in two sections, sawed out as per detail
and having holes cut out for wrists and neck. These sections are
held in place with dowel pins and hasps at ends Fig. 1 DD. Each
section is made up of three pieces, screwed together to form a solid
block. Uprights are bolted to lower section of stocks CC Fig, 1 & 2.
The center pieces EE Fig. 3-4 should be of hardwood and are sawed
into sections to form channels or grooves FFF 3-4, These channels
are about one-haIf inch deep, and one-half inch wide, to allow spring
spikes G.. Fig. 4 to be pushed through stocks. Holes half- inch dia-
roenter HHH Fig. 3-4 are bored through these pieces, placing them so
that the holes will cross in the center of the wrist and neck openings,
so that when the solid spikes are pushed through, they will show as
shown in Fig. 1.
In the channels of the top section of stock, provision has to be
made to force spring spikes around curved channels - This is done by
means of flat bronze springs JJJ Fig. 3-4 which are screwed in place
at K, Fig. 4, and are bent around the inside of the channels and
normally are in position X Fig. 4 and are projecting slightly above
metal plates L.Fig. 4. These plates have half-inch hole bored in
them to receive spikes. It will now be seen that when the solid
. spikes are pushed down through-the stocks, they will clear these
springs and go right straight through, but when the spring spikes are
used by inserting the point of the spike between edge of metal plate
and spring, the spring is forced over to position KK Fig. 4 allowing
spike to follow around the channel and out at bottom.
 -88-

The following number of spikes are used:

Three solid spikes one-half inch diameter
and 16 inches long» M Fig. 5?
Three shells of thin gauge steel tubing»
N Fig» 5»

Three fake spring spikes 7/16 inch in

diameter» 0 Fig. 5.
The spring spikes 0 Fig, 5 are made of very hard tempered steel
wire, wound very tightly and of such a size to fit nicely in steel
tubing N Fig.. 5- A bolt head is fitted to one end of spring, and
is welded on solid, and the other end has a point fitted on the
same way. Now, by lightly grinding the surface of spring, it can
be fitted to just slide nicely and easily into tubing N. If the
’ head end of spring is left slightly larger, the tubing will stick
and be held in place. Now, by using the proper size die very
shallow threads can be put in tubing.N, and solid spike M l;o imi- '
täte the spring spike used. The apparatus may be decorated to
suit.

As the whole effect of the illusion depends on these spikes being

made of the right material and properly tempered, we strongly urge
that you seek only the services of the best mechanic in this
particular line» If desired we will furnish a complete set of six
spikes of correct size and construction to those not having the
necessary mechanical facilities at command PRICE .........$15.00
OPERATION? The outer spike casings may be used, or not •• as desired.
It is also best for one party to hold the spring spike with both
hands, while another party does the driving. Several different
methods for making the switch may be adopted.
The illusion is of course first introduced by calling attention to
the stocks.. The six spikes are then shown, and with the outer
casing attached more freedom is allowed in handling same up to the
time that the switch is desired. A careless dropping of one or two
of the solid spikes on the floor will do much to create a good
impression.
Finally the six spikes may be handed to assistant while the subject
is being secured in the stocks. The assistant should then hand the
fake spikes to the performer, one at a time. In doing this he merely
grasps the head of the spike, and drawing it straight up away from the
others thus leaves the casing behind; or a direct switch of the solid
for the fake spikes may be made from a table or spike rack to be used
for the occasion. Practice well the handling of the flexible spikes so
they will appear stiff and solid. In fact, the entire success of the
illusion depends upon this feature.
 -89-
THE CROSS ESCAPE ILLUSION
The method of release employed in this escape is after the principle
of the well known tapes and ring trick.
Two lengths of soft pliable clothes line cord are used. The same being
some 10 or 12 feet long. They are first tied together with a bit of
fine thread of the same color as they lie side by side.

The first tie should be about 9 ” from the end, and the 2nd about
18 inches from the first tie. The idea is to have two lengths of this
double cord each about 18 inches long with the joined together portion
in the center of each.
These the performer first cuts off from the long ropes with a pair
of scissors after showing ropes, and these short lengths are used
for the wrist tie at either end of the cross arm.
There are two small plugs which fit into corresponding holes at back .
of cross, one at waist height, and the other ppposite to neck height.

In introducing this trick the cross is first exhibited also the

double set of ropes. If the cross is to be submitted to close ins-
pection, the performer retains the two pegs in his hand and secretly
inserts them in place after cross has been inspected. The one who is
to be secured to the cross is now introduced, and taking a pair of •
scissors the performer cuts off the two short pieces of ropes as above
referred to, and proceeds to tie the wrists of the assistant first. .
In doing this the ropes are first doubled in the center where same
are tied together with thread, thus,
The ends of these ropes are inserted thru the holes in cross arm from
the rear.and tied over wrists at front. Thus it will be seen that a
slight tug on these by assistant is sufficient to break the threads
and thus gain release of both wrists when proper time arrives.
The other ropes are taken at about the center and placed around the
assistant’s neck from the front, carried around apparently and back
again, but really are looped around the peg at rear and back again,
co front, a knot tied at the neck, then carried down to waist, knot
tied, then around over peg at back same as at neck.
The remaining ends of ropes may now be held by two spectators if so
desired, It is well to have a skeleton cabinet with sliding curtains
at front, or a screen may be used if a cabinet is not convenient..

When time comes for release, all the assistant has to do is to give a •
sharp pull at wrists which breaks thread at back, then reaching around
behind cross, he pulls out pegs thus securing instant release at neck
and wa is t.
 -90-

These cords are then untied and taking wrist cords same are again
doubled so as to be found double endless loops as they would appear
if tied in the regular manner.
Same can be worked as a substitution, the two persons exchanging
themselves, the one just released inserting pegs back in place with
cords around his substitute. The wrist cords are merely pushed back
thru the holes where they will remain apparently tied.

For a quick sensational escape this is a fine one.

PRESENTATION:
___ _ __ The two pegs should be in the right trousers pocket
or sqme other place where they can be quickly obtained. Then intro-
duce the upright, which set in the base and allow anyone to examine it.

Then throw out the rope for examination, after which you cut it in
the middle, or have someone ip the audience do this. While this is
being done, and under cover of moving the upright forward a little,
slip the pegs in the two holesi Then ask your assistant to stand
with his back to the upright with hands to his sides.

Now double the rope and hold it with both hands apart. Then pass
the doubled rope around his neck, but instead of CROSSING THE ROPE
AT THE BACK, each side is merely placed arpund the peg at his neck,
fumbling a little to make it appear as if you really passed both
ends around his neck. The tie the rope at the neck and pass down
and around his waist in the same manner, after which it is tied and
the ends passed off for anyone from the audience to hold.
Now place a small screen in front of the assistant. Hardly has this
been done, when he reaches back at his waist and pulls out the peg
there. Next he does the same at the neck, and he is free from the
upright and steps out into view.
The charm of this escape is the speed with which it may be worked.
It. will be necessary to practice it once or twice to get the fake
tying around the neck and waist to appear natural. But on the whole
it is very effective and simple and a real climax is possible and
may be worked by anyone any where.
FRAME OF LIFE ILLUSION
This illusion consists of an easel made of pipe mounted on casters,
Fig. 1-2-3 having a wood picture frame for mounting paper. The
following list of parts are needed to construct the illusion - pipe
and pipe fittings - see corresponding letters of blueprint.
AA - 2 pc. 1%" pipe 3'4" long, threaded 2 end
BB - 2 pc. 1£" pipe 18" long, threaded 2 end
CC - 6 pc. 1%" pipe 18%" long, threaded 2 end
DD - 4 pc. 1V' pipe 15" long, threaded 2 end
 -91-
EE 4 nipples 1%” x 4 ii
FF 4 caps 1V'
GG 3 unions for 1%" pipe
HH 6 elbows for 1V' pipe
II 2 - 4-way tees - 4 openings
JJ 2 crosses with side outlet, 5 openings
KK 4 bushings from 1^ to 1V’
LL 2 nipples V' x 3”
MM 2 caps for %•’ pipe
NN 2 nipples for x 10” '
,00 1 set heavy set casters
PP 1 wood shelf 3/4” x 9" x 3’4"
RR strap iron for scroll work
TT shade roller 3’3” long. Curtain for shade roller to match
drop
The picture frame can be made of moulding to suit taste and can be
either solid or take apart with metal plates on back at comers.
Ratchet lugs are removed from shade roller so it will move freely at
all times, ratchet for rollers are bolted to back of top elbows.
Shelf P for assistant is made of wood and is bolted to pipe nipples
as shown, Figure 2.

Scroll work RR Fig. 1 can be made of strap iron or cut out of sheet
stock and is made to hang from central cross bar by rings which
slide. The scroll conceals view of shelf on back of easel. Casters
are fitted to caps ?F. Fig. 1-3 of easel. Metal frame work is best
if nickeled or can be gilded or decorated to suit. Shelf for assis-
tant is painted black» In setting up frame screw all joints together, •>
leaving unions until last before screwing central bar into place,
see that rings holding scrolls are slipped over pipe. The picture
frame when in place rests on short nipples LL Fig.-2-3 and is held at
top by metal strips XX Fig. 4 screwed to back of frame and bent over
so it will hook top cross bar.
OPERATION: Girl rests in position on shelf at rear with curtain
down. Thus, easel stands at center stage a short distance in front
of back drop, it appears as quite ordinary, and if a little attention
is given to stage lights nothing will indicate the presence of false
curtain blind on easel. The lady should have in her possession a
large number of large flags, streamers, etc., in fact pigeons, doves,
livestock, etc. After performer has placed paper frame on easel
lady lets up roller curtain and makes ready to pass items to per-
former as he punctures paper at various places. The climax is
reached when large center opening is torn and lady makes appearance.
 -92-

"THE MURDER IN THE TELEPHONE BOOTH11 Price - $5.00

SPECIFICATIONS: The cabinet of booth shown in Fig. 1-2-3 is mounted

on a platform A Fig. 1-2-3-4, which consists of a light floor, re-
inforced by a framework underneath. The legs can be fastened per-
manently to framework, or can be made to take off by using floor
flanges screwed to framework and inserting pipe nipples in top. of
legs. Platform can be made in two sections as shown, if desired, as
it packs much smaller. Holes B-B Fig. 4 are cut through floor, so
that when cabinet sides are placed on platfrom, the stiles of sides
extend down through holes and are bolted to framework. (See Fig. 7)

The cabinet has a door both front and rear, opening out as shown in
Fig. 3. The sides C-C Fig. 1-2-3 consists of paneled frames, the
stiles of which project down through holes in platform, and are
bolted to platform frame work. Reinforcing strips D-D Fig. 1-3-5
are screwed to stiles, and also project down through holes in plat-
form. Top frame E Fig. 1-3-5, where it is bolted in place by using
hand rail screws and wing nuts. Cross strips F-F Fig. 2-6 are •
screwed to top frame, and are bolted to sides, which stiffens and.
reinforces cabinet.
The top of cabinet consists of a frame G. Fig. 1-2-6 to which are
fastened triangular shaped pieces of 3 ply-wood - H Fig. 1-2-6.
Those pieces may be fastened permanently to top frame or can be
made to take off by using loose pin hinges. The top section is not
bolted to cabinet, but is held in place by small strips I Fig. 1-2.
Top frame G can be partly filled in with a panel so that clothing
may be hidden in top section.

The front door has glass or celluloid in the top section with panel
below. Glass or celluloid should be slightly opaque so that audience
will not clearly see into cabinet when door is closed. Door can be
hung with spring hinges, or a long coiled door spring can be used..
A hook or catch should be provided so; that door may be made to stay
open when displaying cabinet. The back door has a solid upper pan^i
J Fig. 2-3-5-6 and a lower sliding panel K. Fig. 2-3-5-6 which slides
in grooves provided.
Hand grips L and Foot rest M - Fig. 2-6 are screwed and bolted to
inside of back door - so that assistant may cling to door when it is
swung open. A small shelf N Fig. 2-3 is fastened to back door as
shown, using loose pin hinges near ends - so shelf may be taken off
for packing. Allow proper space back of shelf so sliding panel will
operate. Phone is merely a dummy, and is screwed to shelf. Back
door should be hinged with 3 heavy loose pin strap hinges, as this
door must carry weight of assistant.
 93-

'THE MURDER IN THE TELEPHONE BOOTH" '''(by Charles Waller)

Standing on a platform elevated about a foot from the stage is the '
telephone booth. It is of the type common to public places, and has
two, long, narrow windows on the front, which is also the entrance
door. If the builder cares to go the the extra expense, this booth
may also have windows on the sides i 'just as an actual booth has, butp
I do not think that these are necessary, or likely to be appreciated
by the audience. The back of the'booth is plain and against in hapgs
the'telephone, with beneath a shelf'on which rests the usual telephone
directory. . .
The showman, in his ordinary capacity, introduces the illusion.
Opening wide the door he shows'the' booth to be empty. The door has
a spring, which serves automatically?to close it, but the showman ■■
keeps it open for the moment by adjusting a door stop which is on
the platform.
Entering the booth he shows that its back is a door also. When he
has opened this, the onlookers-are able to see-right through to the
back cloth. Plainly, there‘is-no place-about the booth where an
individual may hide. Having closed-'iip the-booth the showman departs
and leaves the stage to the characters; in the drama. '-’.j ■■■ - .
•' • • ,lhll .3l' • j •.» '.’f Mi -,j . . .. „

Here it should be mentioned that1 for-the'time being;the stage is

under green lighting, the better to help secure the weirdly horrible
atmosphere necessary to the success!?of the illusion. This matter of
Lighting may be secured merely by- fixing to the usual lights lamp
shades of green mica, silk, or even cardboard and tissue paper.
For about 30 seconds following the showman's departure the stage
remains empty. Then a young girl rushes frantically on. Everything
in her manner indicates extreme terror and agitation. As she
addresses the audience in short gasping sentences , she looks back
repeatedly along the way she has come, .. - -
■ - ...... ■- .. .

"Oh! I’m frightened to death - there’s a madman chasing me - with-a

knife — I gave him the slip back there <-• but it may be only for a
minute." (looking around and seeing the telephone box) "Oh! The
celephone — Thank God -- the telephone".
• e • •• • .i i ' •* . . •
Rushing frantically to the booth she enters it, letting the door
slam loudly behind her. All this is to indicate a -state of fright
natural to the circumstance. Presently, from within the box, her
voice is heard raised in agitated conversation with exchange.
"Oh, Exchange, listen! - I°m in the booth at corner of.--- and —-t
streets. Oh, do listen! - put me on to the nearest police station -t
OH! Don’t ask questions -- it may be murder - there’s a madman after
me - No! No! I haven't got the coins - just put me on if you
possibly can
 -94-
Now, before the girl has reached the end of her frantic plea for help,
the stage has been envaded by another character. It is a man, and
his wild eyes, disordered hair, unkempt beard, and creeping, sneaking
gait all tell plainly enough that he is the maniac of whom the girl
stands in such dread. Besides, he carries a butcher’s knife.
Hearing her voice he creeps stealthily to the booth, peers first
through one window, and then through the other, opens the door a very
little way and peers within. He continutes very, very slowly to open
the door, until finally he is able to insinuate the upper part of his
body within the booth. At this stage the girl apparently becomes
aware of his presence, for there follows scream upon scream.

The right arm of the maniac is seen to rise in the action of striking.
He does strike,-once, twice, thrice — the screams end, there are
muffled gurgling sounds followed by the noise of a falling body,
and all is still. The maniac emerges from the box, and with his
dripping blade stealthily departs.
Again there is an interval, but this time only of about 15 seconds
duration. Then from the front of the audience rises a boy. Impelled,
arrarently, by a boy’s inquisitiveness, he rushes on to the stage.
Stopping before the booth he gazes intently at the platform and in.
front of the door of the booth. Dipping his fingers into something
on the platform he brings them up covered with blood.
Quickly and shudderingly he wipes his hand on another part of the
platform. He peeps now through one of the windows, but after a
brief glance at the interior he turns with a cry of horror, jumps
wildly from the state, and, rushing past the audience, leaves the
tent by its ordinary entrance.
No sooner has he made his exit than a policeman strolls leisurely on.
All unconscious of the tragedy just enacted, he passes close by the
box. Suddenly he stops, and, just as the boy did, looks down at a
spot before the door. Like the boy, also, he dips his fingers into
the pool slowly forming there. The result galvanises him into
action. Seizing the door he opens it wide.
Policeman and audience alike gaze with astonishment at the interior
— it is completely empty. There is no sign whatever of a body,
though the dark, blood; Stain stretches across the floor. With a
puzzled air the policeman releases the door, which impelled by its
spring, promptly closes. Proceeding to the rear of the booth the
policeman opens wide the back door. Entering the booth from the rear
he pushes the front door open, and this time keeps it open by securing
* it with the stop. Again he enters the booth, and, lifting the pyramid-
shaped roof, makes plain that nothing is hidden there. What has
become of the body?
 -95-

With his head down as though lost in thought, the policeman advances
towards the audience. Looking up, he says musingly — "Now, I wonder
what he did with the body”; then slowly and very deliberately, he
removes his moustache and cap. The removal of the latter releases
the bobbed hair of a girl. It is a girl's face, also, that smiles
now on the audience. In fact, it is the murdered girl, and the
mystery of the missing body is satisfactorily explained, though it
is to be hoped that the mystery of her present appearance in the
policemen's clothes will remain an unsolvable one so far as the
audience is concerned.
EXPLANATION; Exclusive of the boy there are only two actors in thip
effect - one each male and female. I have considered that the players
in a tent show are so often just man and wife as to limit considerably
the usefulness of any production needing a greater number of actors.
The boy may be one picked up on the fair-ground - a different one
each day, if necessary. There is no need to teach him the secret of
the Illusion, and very little instruction should show him all he had
to do.
His assistance becomes unnecessary if the show carries any other
individual, as, for instance, a general handy man who can play this
very tiny part. Besides adding a touch of gruesome realism to the
effect, the boy, by filling in an odd minute, gives the two main
performers time to make certain very necessary changes.

The secret of the Illusion if two-fold, depending partly on the

construction of the booth and partly on quick changes of costume
made by the two main actors.
The showman appears first in his ordinary character as the showman.
He introduces the illusion, then makes his departure. Whatever the
nature of his other clothes he should be wearing navy blue trousers,
Instantly on leaving the stage he commences to make up as the mad-
man. This is a very simple matter. He merely removes his coat,
dons a shabby old combination suit of overalls, puts on a false
wig and whiskers, and powders his face thickly so that it may show
up ghastly under the green lights. Possessing himself of his knife
he makes his entrance at the right time.
The girl meanwhile has been playing her part on the stage and in the
telephone box. She wears a skimpy little dress and is hatless and
bagless. Her stockings must be dark, Like the showman she has pre-»
viously made up her face in "Sunburn”, Immediately on, entering
the booth she commences to put the policeman’s clothes over her own,
and whilst she is doing this she carries on her frenzied conversation
with an Imaginary exchange.
 -96-
The pyramidal top to the booth has three light boards stretched
across its lower portion. Carefully arranged on these are a police-
man’s coat, cap, trousers and boots. There is also a false moustache.
The trousers should fasten merely with hook and eye attachment at the
waist. Commencing with trousers and ending with the cap, the girl dons
all these clothes. She also fixes the moustache.
It is most unlikely that she will have finished these operations by the
time the madman thrusts his head within the booth, So she continues
with her work, even though she may at the time be making the screams
and bumps necessary to dramatic effect.

When the madman, having "done the deed", makes his exit, the girl
finishes the details of make-up, then, passing through a simple trap
which exists in the lower section of the back door, hides behind the
cabinet until she is again needed. She has previously hidden her
own shoes in the pockets of the policemen's coat.
Meanwhile the Maniac (male showman) is making up as the policeman.
It is at this period that the boy appears on the stage, and he is
introduces more particularly to give both characters time in which
to make their costume changes. The male showman throws off the wig,
beard, and overalls of the madman, brushes the powder off his face,
then assumes the moustache, cap, and coat of the policeman. A trial
will show that any changes needed for this illusion may be very
quickly made after a few rehearsals.
The showman now makes his entrance as the poliaeman. When he opens
rhe front door the booth is empty, the girl being in hiding behind.
When he releases the door it closes immediately because of the exis-
tence of the spring. It is necessary that is should close at this
point, because one of the characters must shortly pass within the
cabinet from the rear. It would be easy enough for the policeman
co close the door, but, considering the circumstances, it is much
lass, suspicious when it closes automatically as he hastily releases
it and passes round the back to continue his investigations.
Walking on the platform he passes round the back and there he stays;
the girl in her present character of policeman stepping off the
platform at the other side. In this way is the change of indivi-
duals made, but it is advisable that henceforth the girl should
turn her face as little as possible towards the audience.
In her character of policeman she taps the side of the booth and
inspects the roof from outside. This is merely to provide a moment
or so13 time during which the orginal policeman may pass through the
trap to within the booth. As soon as he enters he climbs on to the
inside, of the rear door (there are hand grips and foot-steps pro-
vided for the purpose) and prepares to ride the door just as
children ride a gate.
 . .. .
-97-

The girl policeman now opens the rear door. It will be understood
that when the door was closed its inner side faced the audience, but
now that the door is open its inner side is away from the audience.
Consequently the policeman clinging to the door remains hidden by
it- and invisible to the audience.
The’girl policeman, after entering the booth from the rear, pushes
open the front door and fastens it with the stop. Re-entering the
booth she lifts the rpof and makes plain that the body ip not
concealed there.

Then, walking slowly to the front, she strips off her disguise and
reveals herself in her true character.

ADDITIONAL NOTES:

I have described this illusion in its most perfect form, but it may
be cheapened somewhat by making a certain sacrifice, in effect. The
girl, after passing through the trap, may remain there, and in due
course make an exchange with the orginal policeman just as she did
in the version described. ■
But in this simplified version the male policeman does not pass
” '■ “within the cabinet that merely remains hidden behind it until the
end- In this case the back of the cabinet need not be made like
a door though it must still possess the trap, aS the girl needs
this as a passage way to the back of the cabinet.
The drawback to this plan is that the booth may not be completely
opened up at conclusion. It is probable that the audience will
conclude that the missing body is merely hidden behind the cabinet.
■■ Yet even in this form the illusion is not to be despised.
Remember that the audience will be thinking only of the disappear-
■ance of the girl. When the policeman opens up the booth and it. is
seen to be empty, the spectators will probably conclude that she is
hiding behind the cabinet. But that idea must be shattered when
the supposed policeman reveals himself as the girl.
’-'Nevertheless, as the back of the booth has not been shown, they
may guess that someone is hiding there, and, guessing this much,
their minds may fly to the real secret substitution, The showman.
who buys these plans must form his own conclusions.
The girl's original dress may be anything worn by her in everyday
life. The maniac's over-alls will probably be used also for rough
/work about the tent. Two police outfits are needed, but is is
probable- that, somewhere or other, these may be obtained second hand.
 -98-

If the reader intends to use the simpler version where the back
does not open he may make the outfit of lighter material, I can
also tell him of a plan which will enable him to open up the back
door without the necessity of the policeman's clinging to it.
This method also permits of lighter material being used. In this
case the showman must have a very dark preferably black, back-ground

The cabinet is made on the prescribed lines, but of lighter material.

The back door is set in like an ordinary door just as the front on©
is. The trap is* in existence; and as before the girl passes through
it to the rear. As before, also, she changes with the male police-
man who then passes into the cabinet through the trap. (At this
stage the front door is closed.) When the girl opens the back dopr
the man steps out on the platform. Reaching up to the top rear edge
of the cabinet frame he pulls down a spring blind covered with
material similar to his back-ground.

So, when the girl policeman opens the front door the audience,
gazing at the black blind, imagines that it sees th© black back
ground. The man remains hidden behind the blind. This plan has
advantages, and the showman carrying a dark setting will have no
difficulty in adapting the plans to its use. If he does this he >
may use lighter lumber in the majority of cases.
The telephone - a dummy one - is stood on the shelf, and well forward y <
i.e. clear of the slit through which the trap will rise, The tel©i
phone should be screwed to the shelf, The shelf is only 6 inches
deep.
The light boards on which the policeman's clothes will rest are
stretched across the top of the cabinet, and fixed there by thumb
screws. Finally the hand grips and foot rests for the police-
man’s convenience as he clings to the door. He stands on an 1% in<?h
square strip of wood nailed near the bottom of the door, and grips
a couple of small metal D-shaped handles screwed near the top. If
these things are painted to match the door it is most unlikely that;
they will be noticed.
THE PRINCESS OF THEBES ILLUSION
The illusion consists of a trestle or other hoisting device, a pla^t
form and box as shown. The trestle AA Fig. 1&2 as shown is made o£
some good strong wood and notching legs into top bar to make more
rigid, being bolted together to take apart for packing. Cross bars
of iron BB Fig. 1 are bolted between legs to strengthen, castors
are pieced on legs so trestle can be easily moved about. Heavy
screw eyes, or eylets CC Fig. 1-2 are fastened to top cross bar. Th©
two outside eyes having pulleys fastened to them - the inner ones
having short pieces of chain with harness snaps at end.
 -99-

The platform DD Fig. 1-2-3 is made of wood, the top having an'■
opening for traps EE Fig. 1-2-3. These traps are hinged at the
sides as they can be raised up as shown in Fig. 2. The top is
rabbited tp form stop when traps are closed. The top is re-inforced
by a frame'work underneath which forms a rim or apron. Heavy
blocks are set in corners to which legs are screwed. This apron is
ornamented with moulding as shown. The top being banded with iron
for protection when handling. Legs are turned, and are fastened •••-
to blocks with short pipe nipples and floor flanges, the floor
flanges being*screwed to corner blocks, and the pipe nipples being
set in top of legs, allowing enough to protrude to engage in the
floor flanges. Plan casters on legs to permit platform to be moved-
easily. Small brackets FF Fig. 1-2 are fastened to corners and
bottom of platform to make it appear thin and also to permit the ;
cover of the movement of bottom trap which will now be described.

This bottom consists of a center section of thin wood (3 ply is best)

GGG Fig. 1-2-3 fitting between the rim or apron. This is hinged atf
the front so it can drop down until stopped by straps at back.
Sheet rubber is tacked to ends of this trap, and to rim of platform
HHH Fig. 1-2-3 so that when the. trap drops down it will fill the
space ac ends. Springs at back of trap draw it up in place until. 1
the assistant's weight presses it down. Platform is painted black
or some color that is dark, wifh legs and moulding of gold or ’ • - ’! ’
contrasting color which makes the platform appear thin. ■ ' '"
The box Is made of 3/4 wood framing, having panels of 3 ply. The
bottom has double traps II Fig. 1-2-3 which are hinged at sides to
raise up and provided with rabbit to act as stop when traps are
drawn down. The end panels are hinged to bottom and have metal
angle irons at sides which form grooves for sides of box to slide
in A Fig. 4. The sides of the box are re-inforced around the edges
with iron B Fig. 4, and slide in grooves provided in end panels A
Fig. 4. Slides are supported by two metal levers on each side of ..
bottom which are connected together with rods and are pulled back
by cables C Fig. 4 releasing side which slides down grooves. Small
pulleys are set in corners of bottom to reduce friction of cable *
release. Cables are connected to a small ring at one end of the
box, so both sets of leavers can be easily pulled. Small coiled
springs are hooked to levers to pull levers back in place after • '■
sides of box are down. Holes about 1" in diameter are bored in
front side of box JJJ Fig. 1. for the air holes and also for special
effect described in operation. The top lays loose and is held in
place with two hasps at each end, the staples being screwed to ends '
of box Fig. 1-2. These staples also act as eyelets for lifting
box. A small turned button holds trap in bottom of box'closed
while is.nibiting. Finish box as desired and a dark color inside
is best to hide traps.
 -100-

OPERATION; Illusion is introduced by performer calling attention to

empty box as it rests on its side on platform, thus permitting
full view inside bottom of box at rear. The lid rests near at hand.
Performer with long stick, raps around box and underneath plat-
form to demonstrate absence of traps, etc. Performer and male
assistant then set box open side up. Girl assistant enters, gets
into box, lid placed on and clamped in place. Platform wheeled .,
abo^t then hoisting apparatus rolled directly over box and plat-
form. In the meantime, girl has had ample time to go thru traps
and into platform. Cables from pulleys above are then brought down
and engaged into chain fastenings at each end of box, after which
performer and helper, apparently with great effort, hoist the box
into the air and when at proper height, the short cables are . ■_
attached to ring^ and longer hoist, cables are removed, coiled., and
tpssed carelessly to one side or on platform. This now leaves
box hanging free. The whole affair is now rolled closed to foot-
lights. The platform is given a careless shove off stage, or. in -
case of a "double" being used, platform can stay on stage during ..
entire performance.
Performer's assistant now stations himself near end of box to be in
readiness to Jerk the release cord that causes the two sides panels
of box to fall. It now remains for the performer to give some
suitable proof that the girl is still in the box. First of all,
the performer raps with his hands on box and then bends his head
to box as if to listen. If girl still remains in platform on
stage she can echo the response from her hiding place. .Otherwise
a subdued sound from off stage will do. Next the performer lights
a match and holds it to one of the air holes, and the girl apparen-
tly blows it out. This is accomplished, of course, by means.of the
well known flip with the finger, making it appear as if the girl
blew it out. Now, the final effect consists of having the girl
draw a silk handkerchief through a air hole into the box. A
length of rubber cord is fastened along the inside lower edge of.
front panel of box and through a small eyelet near lower right
hand corner, here being attached to a small double hook arrangement
and when properly bent it will be found that this hook can be .
placed up in the hole and held in edge of wood that surrounds center
hole in front of box, where it is held under tension by the elastic.
A corner of the handkerchief is attached to the hook and a slight ,
pull releases hook and handkerchief is pulled into the box, as if
girl pulled it ip. The climax comes when performer stands off to.
one side, takes pistol and fires at box. The sides fall down to
floor with a terrific crash, the girl is gone, and comes running
down the aisle and mounts stage. This fine illusion will be found
to be trie basis for a variety of new and startling effects.

J
 -101-

THE JACK-°0—LANTERN GIRL by Thayer Magic Studio

Specifications:

This effect consists of a three-piece lattice-work cabinet mounted

on a low platform, having a large pumpkin placed on a comstalk
pedestal in the center,
The platform A Fig. 1-2-3 consists of a floor re-inforced around
the edged with a framework as shown. Cross braces are placed at
intervals underneath floor to stiffen platform. Small wooden
pumpkins are placed at the corners to form feet. Casters are
screwed to these for ease in turning platform. Sockets are cut at
corners of platform to receive comer posts. (B-B Fig. 1-2-3.)
Lattice work panels C-C-C Fig. 1-2-3-5 consist of strips about % x
1 3/4” except those at comer posts which are wider. These lattice
panels are made double as shown, the two side panels having black
velvet stretched between sections. The back section is left openT
The corner posts of these panels fit into the sockets in the plat-
form as mentioned above. Back comers are hooked together at top
to further stiffen the cabinet. Filler strips D-D Fig. 3-5 are ■
placed over tops and in front of mirrors to hide edges of mirrors
when they are closed against sides of cabinet. Mirrors E-E Fig.
3-5 are of plate glass backed with plywood panels, and re-inforced
around edges with metal bindings as styown in Fig. 5. These mirrors
are hinged at back comers of sides as shown in Fig. 3-5, and are
of such width that when they swing to center, an angle of 45 degrees
is formed with the sides. When closed against the sides, mirrors
are held in place with catches or turn buttons.
Black velvet should be glued to the panel backs of ehe mirrors and
over this, strips of metal are screwed to simulate the lattice
work so that when mirrors are closed against sides the strips will
line perfectly with the lattice frames. The corn stalk pedestal is
made of wood or metal and fits into socket provided in platform.
F-F-F Fig. 1-2-3. It should be slightly lower than mirrors so that
they can be swung easily under pumpkin.
Four brace rods G-Fig. 3-4 are pivoted to comers of cabinet and
swing to center, hooking into holes in the top of cornstalk pedes-
tal. These rods serve to brace pedestal as well at to hide top
edge of mirrors when they are in open position.
The pumpkin is made of wood, having a lid at top and double traps
at H-H-H-H Fig. 1-2-3-4. The sides are made in sections cut to
pattern and glued up as shown in Fig. 4.’ Top may be either hinged
or placed on loose. Bottom is made of plywood glued to sides and
has double traps I-I Fig. 3-4. in bottom which lift up. The front
has a door K Fig. 1-4 slides back of front door K, closing aperture
as desired. A life size photograph, colored to match the assistant’s
 -102-

face is glued to the surface of this metal panel.

The pumpkin and cornstalks are painted as true to life as possible
and the lattice work should be in sharp contrast to the velvet
ground. White or silver are suggested. The brace rods should rep-
resent pumpkin tendrils. Floor should be checkered diagonally with
platform. Present before a black drop. The assistant may escape
through a hinged panel in back frame if desired.
Presentation:
Platform is on stage. Side and back panels may be leaning against
wings or may be brought on by assistants.. Back panel is placed
in position, the assistants allowing themselves to be seen through
lattice. The assistants next, place the sides in position, hooking
the comers together to stiffen frames. In. carrying sides to plat-
form, care should be excercised to keep the front edge to audience
“so that the velvet will not be noticed.
Next, the cornstalk pedestal is set in socket in platform and the
brace rods hooked in place. As assistant places the brace rods
he quickly swings mirrors into position using his body to mask the
move. All now looks clear although mirrors are now in position
against cornstalks in center. Pumpkin is now brought on and placed
on top of pedestal, bottom traps being in the open position. Top
is taken off or raised if hinged. An ordinary step-ladder about
'36" high is set in front of pumpkin.
‘Performer now introduces lady assistant, who walks up ladder and
steps into pumpkin. The ladder is now removed. Assistant wriggles
slowly down into pumpkin appearing to the audience to fold herself
into the shell. In reality she goes right down through pumpkin
closing the bottom traps after her. As her head sinks down showing
the colored photograph of face. Performer with apparent difficulty
lifts pumpkin from pedestal and carries to footlights. Cymbals
'clash — there is a puff of smoke — and lady has vanished. The
shell is all that remains. Performer merely pulls sliding front
Open with a fine cord and lifts off lid, at the same time, tilting
pumpkin forward so that audience may see inside.
EGYPTIAN TALKING VASE OR TALKING TEAKETTLE (Voice from the great beyond)
- Also appliable to modern crystal gazing act. -

Specifications:
1 low resistance telephone transmitter (Kellogg is best)
1 Low resistance telephone receiver about 75 or 100 ohms resistanc.
2 single pole knife switches
12 dry batteries
1 dictaphone receiver
1 dictaphone transmitter
 -103-
1 pound #24 to #27 magnet wire enameled or cotton
5 pound #18 annunciator wire - insulated, covered
1 pkg. friction tape
1 switch board (made of wood)
1 vase ( made of wood)
DESCRIPTION OF VASE

Vase is shown % size at fig. 1. This vase is turned out of well

seasoned sugar pine or poplar which is first glued up in sections,
then turned to any suitable pattern and glued together except at
joint A Fig» 1 which is left so apparatus can be installed.

A spout B Fig. 1 - B Fig. 2 is now carved leaving a hole in center. :

about 5/16,e diameter A Fig. 2. Back of spout is turned out to take
cap of receiver C. Fig. 2 - B Fig. 3. This cap is screwed to spout
with flat head screws which are countersunk to make all flush in-,
side cap - Hole in spout should be finished with shellac or similar
material and polished smooth. Spout is now carved out at back so
as to fit side of vase nicely, shown at Fig. 2. At desired point
bore a hole thru side of vase a little larger than receiver, so
receiver can be screwed into cap from inside of vase - Place spout
over hole so as to center nicely and glue down on vase. Handles
CC Fig. 1 can now be cut to pattern and glued on. These are best
made of hardwood for strength - Vase is now ready for installation
of coil and receiver.
TO WIND COIL

Make a reel for winding coil of a size to go into vase at largest

part D. Fig. 1 - A Fig. 3 shows coil in position (whi^h reel must
be made so you can take wire off without disturbing the arrange-
ment of wire after it is wound.) The wire used is #24 to #27 size,
enameled or cotton covered magnet wire. This wire is wound on
reel until there are about 300.turns, care being taken to see that
wire is in one continuous length with insulations not damaged.
Having wound coil, take it off the reel and wrap entire coil with
friction tape to protect wire leaving ends of wire projecting about
10".or 12" so receiver D Fig. 2 and C. Fig. 3 can be connected.
Scrape insulation off ends of these wires and solder short pieces
of heavy wire about 1" long and of a diameter that can be held by
set screws in receiver. Connect coil to receiver and place them
in vase, screwing receiver into Cap B Fig. 3, care being taken that
connections to coil are not broken. Fasten coil A Fig. 3 in posi-
tion by means of loops of tape tacked to vase. Now test wiring
carefully before glueing the upper and lower sections together -
as it is almost impossible to take vase apart to make adjustments
when once glued.
 -104-

Vase should be finished black inside before glueing up. Outside

can be finished to suit taste, a hammered bronze finish is very
effective. -.-.y

INDUCTION CRYSTAL GAZING ACT REQUIRED THE SAME GENERAL HOOK-UP AS

TALKING VASE OR TEAKETTLE, AND IN WHICH THE TURBAN OR SPECIAL
BLINDFOLD ACTS IN THE SAME CAPACITY AS THE VASE.
USE THIS PLAN FOR WIRING ROOM OR PLATFORM.
SWITCH BOARD AND WIRING ROOMS.

Switch board shown at B. Fig. 6 can be made of wood 1" x 8" x 12"
being a suitable size.
Switch board and batteries are placed in a soundproof room or closet
Fig. 5, so assistant’s voice cannot be heard outside when working
effect, This room can be at some distance from room where vase is
to be used.
(switches)
Connect wires to transmitter A Fig. 6 and fasten transmitter to
switch board. Screw knife to board as shown D & F Fig. 6. One wire
from transmitter goes direct to batteries A Fig. 5, then run to room
where vase is to be used. The other wire runs to switch D Fig. 6
then on to room where vase is to be used. (Note) All connections
should have insulation; scraped off and all joints in wire soldered
and taped. SWITCHES SHOULD ALWAYS BE LEFT OPEN WHEN NOT IN USE to
avoid running down batteries. A large coil 8 ft. to 12 ft. in
diameter and having 10 to 15 turns should now be made using #18
annunciator wire well insulated. This, is best made by stretching
:.t over pegs to form a reel and tapeing wire together every 12" to
18" to keep in position. Coil can now be placed in position under
floor, on ceiling, or under rug. If desired the entire room may
be surrounded with this coil, same being run around the wall behind
picture mould. Connect ends of wire from coil to wires from switch-
board and this part of apparatus is ready.

DICTAPHONE CIRCUIT.
Screw small hook to switch board to hang up dicto receiver E Fig. 6
when not in use. Connect wires to receiver of such length so
receiver can be held to ear. One wire runs direct to batteries
B Fig. 5 and on to room where vase is used, The other wire runs to
switch F Fig. 6 and on to room where vase is used, Connect these
wires to dictaphone transmitter which is concealed in room behind
picture of some other object.
•I
OPERATION.
Assistant takes place in sound proof room Fig. 5 and places dicto
receiver to ear and pushing in both switches is now ready to work.
 -105-
Performer takes position in room Fig. 4 where vase is to be used and
by placing spout of vase to ear he can hear voice of assistant who
is talking into transmitter. Vase can be carried to any part of
room and still voice can be heard. Assistant can also hear all
conversation taking place in room where vase is used, by means of
dictaphone transmitter.
NOTE;
Good live batteries are always essential, of which 8 to 12 are
required « wired in series. The switch on transmitter board makes
or breaks the circuit and it is very important that this switch
must be off at all times when not actually in use. The transmitter
will be found to warm up considerably, but this does no harm.

During demonstration, have party hold vase as nearly upright as

possible so that both coils are parallel.
Storage batteries do not give good results, use dry cells.
THAYER'S NEW MASTER CREATION "RE-INCARNATION"

In the center of stage or platform stands a small table, composed

of a three-wing panel affair, with a thin one inch top. The wing
panels consist of a fancy cut-out open work design, so that a view
of performer may be had every time he passes behind the table in
order to dispute the fact the mirrors are used, and positively they
are not.
Next a chest - Egyptian-like in appearance is placed on the table -
end on to spectators. This chest is approximately 1,4" in height,
18" in width, and 24" in depth - from front to back. The top is
a lid which opens up, and the front end panel is also a door which
opens down, If desired, this chest, or supposed Mummy Head Burial
Casket may be brought in by assistants - down the aisle, and upon
the stage where it is then placed on the table. Also, if desired,
the spectators may be allowed to look inside the chest while it is
being brought in and up to the stage. What they see inside is the
supposed head of a mummy - dead 3000 years. Other-wise the chest
is empty, and anyone may be permitted to place their hands inside -
in proof that no glass or secret apparatus is involved.
After chest is placed on table and front door opened, the mummy
head rests therein in full view, and is made further visible by
means of a special light circuit which strongly illuminates the
entire inferior of the chest itself.
Soft music BEHOLD - the head of this 3000 year old mummy slowly
comes to life - and soon the head of a beautiful girl - alive and
smiling rests before them. The head speaks,.and if desired may
respond to questions asked by performer or the audience.
 -106-

Finally, the head - still in full light, gradually transforms back

again into the original mummy head of 3000 years ago, and which may
at once be removed from chest and passed for examination, should one
wish to do so.
Now here comes something that is going to keel you over. The chest
may immediately be removed from table and shown empty. Next the
table top may be taken off and shown from all sides, and finally
the table screen itself may be folded together and allowed to fall
flat on the stage.
NOW! What are you going to say when we tell you that also if desired,
the entire illusion may be built up or assembled - piece by piece -
before the audience - on the stage - table, chest, and everything.
The chest, by the way, is built in knock-down form to allow, not
only for small space to travel, but also to make possible the piece
by piece assembly of dissection process positively in full view,
and yet the mummy head - to life effect actually takes place within
the chest itself, unaided by outside help or assistance from anyone.
This will give you an idea of some of the things which can be done
with this new miracle sensation.
We have been working at odd times on this problem for the past 5
years. Now it is finished, and any showman who cannot create for
himself an instant reputation with this thriller, ought to go out
of the entertaining business.
Remember, we say - no mirrors, floor traps, or features other than
those which are self-contained, and which are a part of the original
outfit. 1
All you need is one girl assistant and you can at once present this
effect in any room, hall or theatre, and at as close a distance as
six-feet from spectators. All lighting equipment is complete, with
plug-in connector for any 110 circuit. Even the Mummy Head is a
part of the outfit. There is nothing more for you to buy.
If you are interested in a real sensation, here’s your chance.
Otherwise please do not ask us to repeat in writing what this dis-
cription already tells you, and which is true and correct in every
detail.
Combined with the illusion itself, think what a remarkable and
different mental mind reading effect you have here, the responsi-
bility of, which rests with the head and which at the finish fades
back again into its original mummified state.
Here is a feature for any show « regardless of how great or how
small. The entire weight will approximate not to exceed 100 lbs.
 -107-

THAYER'S NEW MASTER CREATION - “RE-INCARNATION-ILLUSION

SPECIFICATIONS; This illusion consists of a box or chest, a table like screen and a
suitable back-drop or screen.

The table screen A Fig. I-2-4-5 consists of panels B-B-D-D Fig. I-2-4-5 having fancy »:■ ? '•?
cut out open workc designs. The two front panels are hinged to center hinge strip , C
Fig. 1-2-5, and also have two small panels D-D Fig. 2-4 hinged to rear edge to fill
out and support top. The small panels D-D are backed up with cloth to match back
drop, curtains not being necessary as angle is such that tJieyare hardly seen. The panels
are best made of 3—ply wood, sewed to pattern and reinforced around edges with strips
as shown full size in Fig. 5.

These strips form a recess in which curtain rollers E Fig. 4-5 are placed. Two small
lever catches F Fig. 4-5 are placed as shown near central hinge strip, and allowed
to project through front so that they may be operated from the outside. Levers lock
curtain rollers by entering small holes drilled in ends of rollers. Curtains G Fig.5
are made of the same material as back drop used, preferably dark blue or black
sateen or velvet. A seam of pocket is placed at bottom to take steel rod H. Fig. 5,
which gives weight to curtain so it will drop quickly when released.

Spools I Fig. 4-5 are placed at one end of curtain rollers, on which cord pull is
wound. This arrangement allows curtains to be raised or lowered as desired, for ex-
ample, when curtain is rolled up to top, cord around spool is unwound except for a
few turns. Now by moving lever F so curtain is released, steel rod in bottom of
curtain, causes curtain to descend rapidly, at same time it winds up cord on spool.
By pulling on cord curtain is made to raise again. Cord may be arranged to pull
from either front or rear as desired. • 1

'J
 -108-

Top of table screen is made of 3—ply wood, having reinforcing strips around edges, which
also act as stops for side panels, as top merely lays on loose. Double traps J J Fig. 1-2
are hinged in top as shown and drop down when released by turn buttons underneath top.

The chest or box Fig. 6-7-8 is made up of a base or bottom section A Fig. 6-7-8 side
sections B B Fig. 6-7-8, front and back sections C-C Fig. 6-7-8- and a lid D Fig, 6-7.
Sections of box are made to take apart by using loose pin hinges at corners, the bottom
being held in place by ledge shown in Fig. 7-8.

The base section consists of a frame E Fig. 6-7-8- having a cross bar F Fig. 6-8 placed
as shown. This bar divides the base into two sections, the rear having a trap G Fig. 6-
8, hinged to cross bar and locked in place by flat spring catch H Fig.- 6-8.

The front section has compartments for lamps at sides and front I Fig. 6-7-8 . The com-
partments are made of metal and are closed at top and part of sides as shown. The space
between lamp compartments is filled by traps J J Fig. 6-7-8 which are pivoted at sides
by flat strips of metal K K Fig. 7-8, which are screwed to ends of traps and pivoted to
sides of base, slots being cut in lamp compartments for metal strips. Traps are held up
by flat spring catch L Fig. 6-8.

The front section of lower side of base has a panel M Fig. 6r7-8 the front side of which
is hinged to folding panel N. Fig. 6-8 which in turn is hiinged to front of base. Two
metal flaps O Fig,- 6-7 are hinged to sides of panel M and raise up after panel M is
dropped down. These panels when dropped down as shown in Fig. 6 form a boxlike
compartment beneath chest. Panel M — forming the bottom, panel N - the front,
flaps O - the sides, and Trap G - the back. When up in base these panels are held
by turn buttons P Fig. 7 which are placed on opposite sides of base and lock over
panel M. 1

The sides of chest B-B Fig. 6-7-8 have ledges on which glass R Fig. 6-8 rests when in
chest. These ledges can be small strips set at an angle of 45 degrees, or triangular
pieces can be set in front section to form ledges. Glass R should be of thin plate of
a size to fit between sides of chest and from groove in top of cross bar F to lid line
as shown in Fig. 6-8. Glass should be loose enough to be pushed up from below when
trap G is down. Lamp compartments S-S Fig. 6 are placed at each side just back
of box but not front.

The lid D, which hinges at rear and raises up also has a compartment for 2 lamps as
shown in Fig. 6 placed in line with the side compartments. These also light rear of
box but not front. The lamp compartments in sides and lid should line up with those
in base as shown.

■’I
 -109-

The back of box is plain, having no traps while the front C of chest consists of a frame,
having a door, hinged at bottom, which opens out, and is held in place by small catch or knob
at top. Door fits between pilasters at sides and stops against ledge at top which also hides top
edge of glass when door is open. The box is ornamented with mouldings and pilasters at corners
as shown, which reinforces and gives better appearance.

Wiring diagram is shown in Fig. 9, the principle used, being to light lower compartment
under base of chest with one circuit, and rear section of chest with the other circuit, the amount
of light being controlled by suitable dimming devices. We find that 4 lamps of 25 to 40 watts in
each circuit give about the right amount of light. The lamps used are a slim straight type to fit
standard socket. The dimmers used must be the right capacity for lamps used as lamps should be
entirely out when dimmer is fully on. The wiring in base is carried around side walls to back,
while the sides and lid, if the box is made to take apart, must have small connecting devices at
each section, so as chest is built up connections are made automatically.

Back screen or drop Fig. 1-2-3 consists of a pipe work frame, having cross feet, uprights
and cross bars for supporting curtain. The end sections of upper cross bar can be pivoted, as shown,
so drop can be made to take different positions. Curtains must match curtains used in table screen,
an opening being provided in center near bottom through which assistant may enter table screen.
Curtains are hung from top cross bar with curtain rings.

In decorating, the Egyptian motif is used, as this looks the part if Mummy head is used.
The exterior of chest can be in bright colors, but the interior should be painted a plain dark color
or better still, lined with blue or black velvet as the head will show up better.

The table screen should be painted in sharp contrast with curtains used, gold and silver
being best. Top of table screen can be covered with cloth or black felt to hide traps.

PRESENTATION:

In setting this illusion, back drop is in place with lady assistant back of drop, or it can be
pushed in from wings, assistant walking along behind drop. Table screen is folded flat, with cur-
tains up, and top stood along side. Table screen is brought to position which should be 12" or
more in front of back drop depending on position of audience. Ground cloth, which should match
curtains should be used if there is a balcony.

Screen is opened out with short filler panels opened as shown. Top is now placed down on
panels, the performer walking in back of table to place top on, as this gives audience view of per-
former thru screen, as curtains are still rolled up.

Chest is now placed on table or built up as desired, performer making electric connection
as he places box, using care that chest lines up with traps in table top. As chest is placed on
table, performer may at any time push small levers which project through front of screen, releasing
curtains which drop down back of open work panels. Assistant back of back drop may now enter
table screen bunging glass plate with her. As performer is calling attention to Mummy head used,
assistant under.table, quickly turns buttons allowing panels in table top to drop down; next she re-
leases panels M in bottom of chest allowing it to drop down, then opens flaps O which catch over
small lugs provided in base. She now releases Traps J in bottom of chest allowing them to drop
down into compartment; next trap G is let down and glass pushed up in place.
 -110-

At this stage performer has completed talk on head, and goes to box, opens top lid and
places Mummy head in box, where it is taken by assistant and placed in lower compartment with
top of head to front of chest. She now takes her place with head in box as far back as possible.
As performer explains about lighting chest, assistant snaps on switch illuminating mummy head
in lower compartment.

Performer opens front door allowing view of Mummy head which is reflected back of box
and blots out real assistant. Now by means of the dimming devices either operated by assistant
under table or off stage. Mummy head gradually fades out and assistant's head is clearly seen.

By reversing the process the mummy head is brought to view again. It is very important
that mummy head and assistant's head are in exact line with each other as otherwise as the change
is made it gives a hazy outline. By experimenting with the dimmers it will be found that many
wonderful effects can be obtained, the important thing being to so operate dimmers that the amount
of light does not vary as the change is made.

While we have elaborated to the maximum extent in order to set forth the construction de-
tails of this effect in such a way as to make it possible to assemble or break down this illusion
piece by piece upon a bare stage in full view of the audience, it of course remains with the per-
former as to how far he shall go in order to create the best impression as far as these details are
concerned.

Personally, we favor the idea of having the chest brought in by assistants through thea:-
tre and placed upon the table on the stage which is all set in readiness to receive it. At con-
clusion, however, it will be found highly effective to place chest to one side and then immed-
iately disassemble the table in order to disprove the fact that mirrors are used.

To go further than this might perhaps tend to delay or drag the procedure a little too long-
however, one's own prevailing circumstances must decide this question.

Our original idea was the "MUMMY HEAD". However, as will ^e seen the illusion is
not confined to this one thing in any sense of the word, and it rests with each performer as to
what particular effect he wishes to create, as it is just as practical to cause a visible growth of
flowers to take place in an empty vase as it is to change a skull into the head of a living person.

It has always seemed to us that a wonderful and sensational mindreading act could easily
be applied with this outfit, and here again is where a performer will have to decide for himself.

At any rate it has been our chief task to supply these details in such a way as to make it
possible for almost any type of performer to create for himself a beautiful feature effect - applying
this outfit to whatever type of presentation as best suits with his purpose. With but perhaps a very
few exception, the necessary items used in the construction can be procured in any locality. We
are in a position, however, to supply all materials and fixtures, either in whole or part, at the
lowest cost possible.

I»
SUPER SPIRIT PAINTINGS
i
Articles Needed:
Picture frame and shadow box described later.
Lamp Bracket with lamp reflector and lamp cord
 -111-

An easel as shown to support frame

A number of frames for blank canvasses and pictures.
One or two metal shells to fit over frames.

Large Picture Frame and Shadow Box.

To make frame shown at A fig. 1, 2, 3-7 ft. moulding similar to that shown at A fig. 9
is required. Miter together making a frame 11| x 14^" inside or sight size and 19| x 22£ outside
size. Saw to pattern an ornamental top piece BB fig. 1 & 2. Dowel and glue this to top of frame
flush with back and cut a slot or groove at back 5/16" deep x li" wide CCC fig. 1, 2, 3 from top
or ornamental pc. to inside line of pictures frame stopping 1/8" from edge so it will not show from
front. This groove is for finger when loading frame with canvasses. Now proceed with the shadow
box.

Front frame DD fig. 1 & 3 is of 3/4" stock - having a bottom and side pieces but open at
top, cut a groove wide and deep on inside edges and 3/16" from back as shown. (This groove
is to receive frames with canvas fig. 7) Bottom EEE fig. 1, 2, 3 and sides FFF fig. 1, 2, 3 are of
3/4" stock, groove is cut in sides to receive bottom GG fig. 1. Rabbet sides at top for top pc. HH
fig. 1, 2 and a mortice at back for cross brace II fig. 1 & 2. Screw bottom and sides together and
fasten to frame DD 1, 2, 3. This is in turn screwed to picture frame A as shown at BB fig. 3. Top
board HH fig. 1 & 2 is made of stock and fits loose on top of shadow box and acts merely to keep
light in box when working effect. Cross brace II fig. 1 & 2 is cut and screwed to back of shadow
box to hold it rigid. . Lamp bracket GG fig. 2 & 3 is made of hardwood sawed to pattern and fits in-
to groove in block JJJ.fig. 1, 2, 3, which is fastened to bottom of shadow box by screws, Drill hole
in end of bracket to take lamp socket fitted with nipple or small pipe, which is screwed in. Fasten
on shade and screw lamp in socket, first wiring socket with extension cord having plug on end to fit
standard socket. Screw blocks KKK fig. 1, 2, 3 on sides of shadow box to hold frame and shadow
box on easel.

Sliding frame LLL fig. 1, 2, 3 and 6 is made of 5/8" stock. Sides and bottom are grooved
to receive frames with canvasses. Top pc. is not grooved and is made narrow so canvas frames will
slide in front of it. A finger hold is cut out of top as shown at AA fig. 6 and is necessary when
loading canvasses. Cut groove in center of sides of frame 5/16" deep and 3/4" wide to receive
brass channel BB fig. 6. This channel is fastened to frame with small screws set in flush and is used
to make frame slide very easily. Cut 2 small bars of hardwood MMM fig. 1, 3, 2 of a size to fit
freely in brass channel B fig. 6 and about 6 7/8" long. Screw these to sides of shadow box as shown
at MMM fig. 1, 2, 3. Bore two small holes in sliding frame fig. 6 at CC for cord as will be des-
cribed later and slide this frame into shadow box where it should slide freely from a front to back.
At points opposite holes CC fig. 6 in sliding frame - set 2 bushings or screw eyes in frame D fig. 1,2
& 3 - shown NNN fig. 1, 2, 3 and directly below these set 2 bushings in bottom at 00 fig. 1 & 2.
These bushings should be made very smooth so cord used to pull sliding frame will slide easily. Make
2 small stops of wood 3/8" x 3/8" x 16" and screw into back of shadow box at PP fig. 2 & 3 to keep
sliding frame from falling out of shadow box.

Easel.
The easel consists of 2 uprights, cross bar and 2 cross feet. Uprights can be turned or not
as desired and are notched out at top to go over sides of shadow box and are held in place by tops on
sides of shadow box KKK fig.. 1, 2, 3. They are also notched out at bottom to fit down over feet,
which can be bandsawed to pattern. Cross bar is cut to length and 3/8" bolts are fastened in ends
and project thru feet and uprights and the whole easel screwed together tight by thumb nuts as shown.
 -112-

Frames for Canvasses.

Frames for canvasses are shown at fig. #7. Full size detail at Fig. 9. These frames are
made of wood 5/8" thick grooved and tenoned at corners to make strong frames. Glue these up
and cut out so as to form a tongue on all edges - as shown Fig. 7 & 9. This tongue is made slightly
smaller than grooves in sliding frame fig. 6. Frame D fig. 2, 3 so these frames can be slipped in
easily without sticking. Bevel surfaces of frames slightly as shown at B fig. 9 so canvasses will
make good contact when pressed together, and paint edges a dead black.

Pictures.
Mount pictures desired on these frames using prints that when held to a light will show thru
paper clearly from back, and also are not stained on back but show perfectly white. Hand colored
pictures can also be used. Blank frames should be mounted with water color paper. All paper :
stretched very tight on one side of frame and glued down smooth. Several blanks are needed and
several pictures, depending on number to be produced.

Metal shells.
Several sheet metals shells or fekes are needed fig. 8-9 one for each picture to be pro-
duced. Use. galv. or tinned iron about 22 or-24 gauge, cut pieces 12|" x 15i" one pc. for each
shell. Bend edges over at right angles on all sides to form a shallow tray or pan |'‘deep and 12"
x 15" square - See that metal is perfectly flat and not buckled or bent. These shells must fit over
frames fig. 7 loosely so as to drop off easily.. Paint edges black inside and out to match frames and
cover both sides of shell with water color paper. These shells are placed over pictures on frames
and if well fitted and covered, look like blanks. To string up use black linen fish line, #9 to 15
strand is best. Proceed as follows:

Place frame and shadow box in place on easel. Remove top board H fig. 2 and lamp bracket
G fig. 2 temporarily. Take a piece of fish line about 4 ft. long and fasten one end to back of slid-
ing frame on one side. (fig. 6 at C) with small tack and pull thru hole C to bushing N on front frame
D fig. 2 & 3, then down thru bushing O in bottom and across under bottom to bushing O on other
side and up thru bushing N and back thru hole C in sliding frame. Push s|iding frame back as far as
it will go and tack thread at back of frame. Now when this thread is pulled from under bottom of
shadow box sliding Frame is pulled forward. Fasten small ring over this thread under bottom so it
will slide and fasten another thread to ring. Place screw eyes at AA fig. 5 on back of one leg of
easel and run thru these (thread) eyes and off stage to assistant. Replace top boards and lamp brack-
et, connecting lamp cord to plug. Push sliding frame to front where it should go tight against D fig.
2, 3.

Front frame and easel can be painted to suit, but shadow box should be painted dead black
inside and out.

SUPER SPIRIT PAINTINGS

OPERATION

To prepare for the experiment, first make sure that your sliding apparatus or carriage works
perfectly free and smooth. Using a small quantity of talcum or powdered soap stone when necessary.
I ' .

During materialization of pictures, the house and stage lights should be turned off, the only
light being the one at rear of apparatus, preferably a 250 watt stereopticon light bulb. Two pic-
tures will be found ample for one performance and these, covered with the metal fakes, together
with several blank canvasses are lying stacked on the table, and are exhibited as plain blank can-
 -113-

vasses. If desired performer can take the entire stack on his arm and go among the audience
passing around for inspection all excepting the two which are covered with the metal fakes,
but with a little clever showmanship, it will appear that all pass thorough inspection.

It is a good idea to request the spectators to mark their initials on the backs of the
frames, the real pictures also being marked while the performer himself holds them, after which
he gathers up the stack on his arm and returning to stage places them face down on a table close
to picture easel.

The picture or pictures to be produced must of course be forced and there are various
means of doing this, the most simple perhaps being in the use of the changing bag, but each
performer will use a method that best suits his fancy.

It is necessary that the performer know the exact position in the stack of the two pic-
tures that are covered with the fakes. If producing one picture only, this should be the second
from the top, and if two pictures are to be used, the canvasses should be placed in two piles on
the table, the picture being the second one from the top of each pile.

Now lifting up the top one with left hand by the front edge of frame - This move clearly
shows to the audience that this is a blank canvas. - With the right hand reach over and lift the
second one taking hold of the frame at rear edge, and, bring the two face to face in the hands.
This move is very simple and leaves the shell which previously covered pictures lying on top of
the remaining blanks and its presence there is impossible to notice on account of the black edges.

The two are then slid down into the carriage from the top (picture at rear) and the car-
riage is immediately slid back and then the light turned on.)

The hand may be passed down between the two frames, if desired showing shadow.

When then ready, the assistant operates the cord very slowly causing the picture to grad-
ually appear.

After little careful study the entire idea of the experiment will be, readily grasped as there
is nothing difficult in its accomplishment, the main feature being the performers ability to work up
this effect.

PATTER FOR THE SPIRIT PICTURES

Ladies, and Gentlemen, under the title of a "visit with the Old Masters" I shall now pre-
sent for your approval an experiment of extraordinary character. We have reason to believe that we
are now living in an advanced age of scientific investigation and development. A few years ago,
if we would have proclaimed that men would one day cross the ocean in ships in the air, or that mes-
sages by wireless would be flashed from one end of the earth to another - or that it would be possible
for a huge cannon to wreck destruction at a given point 50 miles away, we would have been classed
as dangerous agitators, and a menace to society. And yet today these very things are real to us, and
pass us by as bqlng matters of ordinary moment.

It has also been demonstrated that there is such a thing as demonstration of thought projection-
still in its infancy to be sure, but possible nevertheless. Some go so far as to claim that it is possible
to reproduce these thoughts in a material state and this is to be my purpose at this time. Upon a
 -114-

number of blank canvasses which will be offered for your inspection, I will endeavour to repro-
duce at your own selection, and before your own very eyes, the finished perfect picture of any
person who has ever lived, upon this earth. In order to arrive at a definite working basis, I
shall first pass amongst you a quantity of envelopes and slips of paper upon which you may write
the name of any person or subject that you desire.

In doing this I wish to say there will be no limitations whatever. You may write the name
of any famous Painting, any president, poet author or statesman. You may write the name of any
relative or friend - living or dead. The name of your mother, father, brother, sister, husband,
wife, sweetheart, or lover. It makes no difference,! will produce them just the same. In writing,
however, it is necessary that you bear in mind one thing. Dismiss all other matters from your mind
for the time being, and let no one see what you write. To any person who are desirous of writing,
if you will hold up your hands, I will be very glad to give you the opportunity, and we shall get
along all the more quickly.

(After writings have been gathered up) "Owing to the small space of time alloted to me
on the program this evening, it will be impossible to produce more than two pictures at this time,
altho it would please me to satisfy each and everyone of you who have so kindly volunteered a
written name. Therefore, in full justice to all, I will simply ask that two of these envelopes be
freely selected. I trust you have done your selecting well. The balance we will destroy."
(Return to stage)

I now call your attention to this frame - similar to what you would see in any first class
picture house or artists studio. A little addition of my own - this light at the rear which enables
you to view the experiment in the best possible manner.

Next your attention to a number of ordinary frames or blank canvasses - a very common
article known to artists. You will notice that they are entirely blank, and also very transparent.
That you may better appreciate this effect from your standpoint I will ask that several of you place
your initials on these frames, in which case you will be able to recognize them later on.

Someone holds an envelope - let us see what it contains — Bishop1 Cantwell----- yours?
----- Thank you. Ladies and Gentlemen, I can offer no definite answer as to the outcome of what
I am about to attempt. Any first class artist will bear me out in my statement that to produce these
pictures in a perfect work of art such as the one written here, in an ordinary manner would be the
work of weeks, and that to produce them in the space of;a few short moments would be considered
IMPOSSIBLE, and ABSURD. Tonight we will try it.

(Lighfrs). (Produce).

We have on this frame the initials-------- was this yours? Once more we place two blank
canvasses together, and once more display them before your view.

(Lights).

Does this picture apply to the name you had in question. Are these your initials on the
frame? You will notice that the picture is hardly dry, and that there are no brush marks whatever.

The picture awaits your pleasure at the box office.

And this Ladies and Gentlemen, concludes our "Visit with The Old Masters".

I thank you!"
 -D5-

LARSEN GIRL WITHOUT A MIDDLE:

While the catalog illustrations and description give no indication that special stage con-
ditions like a black draped stage with black back curtain and black floor drape are required, these
plus a large "black art top table" or platform with "black art" principle base under it, and a con-
siderable handling by assistants are required. This causes me to wonder if any show has actually
used it. It could be worked in a black art stage act. Three boxes with hinged doors opening on
the front, which boxes when stacked on top of each other form a sort of cabinet large enough to
contain the size of girl to be used in the Illusion. The idea is that a girl placed in the stacked
trio of boxes is apparently divided in three parts by passing metal dividers through between the
boxes. Boxes then separated and doors of the boxes are opened, revealing the legs in lower box,
the head which talks in the former top box. The boxes then restacked in original order, and doors
opened and girl walks out fully restored. The legs shown when boxes are separated are artificial
replicas which are attached to the rear wall of leg box which wall is really revolving panel. Legs
at rear or behind box at start of illusion.

Worked with black velour floor covering and black back curtain under and behind table and
illusions boxes. Table is of the Black Art Top nature, has trap openings for girl to slide down through
from boxes. While assistants are working with boxes etc., they pull out pins which permit a rolled
up black velour cloth to roll down behind the front openwork supports of the table so that she will be
hidden by black cloth when she slips down from boxes through trap in table top and takes position un-
der table.

Blades are passed through separating boxes. They are then moved apart or completely separated.
But the HEAD box is placed on table over the trap so girl can push her head up inside that box. BUT
WITH FACE TURNED AWAY FROM AUDIENCE.

Head box opened and back of girl's head shown. Box closed, turned around (girl turns her head
around also) box opened and girl's face shown looking at audience. She talks to spectators and per-
former. Boxes closed. Girl removes head. Boxes stacked again in originpl order — girl moving over
so she can rise up through the boxes soon as dividers are removed. She stands erect inside boxes after
the revolving panel in the leg box has been turned so artificial legs are revolved to position behind the
back wall of that box, so her real legs can take their place. Doors on all three boxes are opened and
girl walks out. Strap placed around girl's neck as if to hold head from falling over but serves to con-
ceal juncture of head with trap in head box.

ORMOND MC GILL'S GIANT TV SCREEN ILLUSION

When Ormond was booked for The Tokio Revue he wrote me about a clever idea of having a
giant replica of a TV Set on stage which was really a Black Art Stage unit, to modernize and bring
the Black Art idea right up to the present time in a logical manner and one fully acceptable to modern
audience. First part of the Black Art type of mysterious effects took place, things appearing and float-
ing into place. Then the performers who were seated in front rows of audience walked up on stage and
into the apparent "screen" of the large TV Set — and took part in the routine performing all sorts of
amazing feats of magic. This shows what a little thought and ingenuity can do when applied to standard
principles and demonstrates how much "Presentation" has to do with everything in show business. For
example: the popular Guilletine and Sawing Illusions would have little "Entertainment" value if a girl
was simply sawed in half. It is the build up of comedy and suspense and dramatic by-play built around
the feat in each case, that makes the trick a "Hit" with audiences.
 -116-
JACK O'LANTERN GIRL

This is the same as the Girl In Pumpkin. Evidently Thayer put a different name on the
Illusion in some editions or printings of his catalog. Kanter and Tannen catalogs of a few years
back (issued at a time when they used to carry the Thayer line of blueprints before they discon-
tinued them from their respective lines) reveal some variations of titles of some illustrations from
the names given them in the old Thayer catalog.

DISAPPEARING HEAD BOX

This is the same as the Sword Box and Grant Flat Head Chest etc., all of which use the
mirror principle. Two mirrors- concealed in the double inner walls are hinged so they can be
swung together to meet in front, causing the box to appear empty. Swords passed through holes
in box further help to create the illusion of emptiness.

ELECTRA "20,000 VOLT11 STAGE ACT BY VOLTA

This Act is always a HIT on stage in an elpborate version. Also in smaller form for open
air and carnival or illusion show or a "10 in 1" show.

It was a feature for some years in vaudeville theaters by "Dr. Harmon" and also another
dramatic and comedy version known as the VOLTA ELECTRIC ACT in leading variety theaters.

STAGE VERSION OF ACT

An attractive young lady in very stagey and scanty costume is introduced as "The Girl
Who Is Immune to 20,000 Volts of Electricity. " She has amazed the world of science, continues
the performer.

Girl takes her seat on an elaborate chain that looks very much like an Electric Chair as
used in executions - and the chair is near some very imposing looking electrical apparatus. Blue
flame and sparks emanate from this apparatus in a very impressive manner whenever the current
is turned on.

Meanwhile a committee of spectators is invited to come up on the stage and view every-
thing at close quarters, examine the apparatus and so on. They are seated on chairs placed
around the left and right side.

To prove that thousands of volts do actually pass right through the girl's body the per-
former first lights a gasolene torch, blows it out and then touching the end to her knee pnshoulder
the gasolene torch is lighted by means of a spark which seems to jump from her knee to the torch.
He repeats this several times relighting the torch by touching it to her bare shoulder, her elbow,
her palm or backtof hand etc.

Next a piece of tissue paper is touched to her fingertips and it also ignites in a similar
manner and bursts into flames consuming the paper.
•ii

A spectator is handed a piece of newspaper. Volta asks, "Did you read all the news today? II
Party says he did. Volta asks, "What did you think of the news — it wasn't so HOT was it?"

Asking spectator to hand it to the girl the paper as it reaches her hand bursts into flames
and the spectator jumps back dropping the paper and the audience bursts into loud laughter.
Performer stamps out the burning paper.
 -117-
Performer takes a cigarette from his case and reaches about in his pocket as if looking for
matches. "But why should he worry about MATCHES-----when I have such a cute cigarette lighter
- right at hand.11 Touching cigarette to girl's fingertips the cigarette lights and performer proceeds
to enjoy a smoke.

Inviting spectators to take a cigarette and do the same thing he passes out cigarettes to three
persons. As one of the spectators attempts to light his cigarette in the same manner as performer did
he is seen to jump backwards with a startled yell causing wild laughter from audience. Another spec-
tator is induced to try the same thing and after first refusing several times then is finally induced to
try it. He leans forward in a very very cautious manner, making first several false starts and then
finally touching cigarette to girls hand. A flash of flame is seen - spectator jumps backward with a
yell, then falls over backwards. He jumps up and dances around wildly as if still under the influence
of hot electricity.

Various other entertaining stunts are attempted such as setting fire to a cup containing a little
liquid gasolene which is also lighted by another finger touch — a candle is lighted by another finger
touch. Young lady peels a banana or similar fruit, offers a bit to man spectator. He leans over to
take a bite - a spark flys from the fruit toward the spectator who leaps high in the air, falls over back-
wards.

Performer lights the gasolene torch from the fruit showing it has sufficient current to light the
torch. A candle is also lighted from her fingertips.

Finally an electric bulb is placed in her mouth. On pulling a chain switch attached to bulb
— and the bulb lights up. Apparently the current running through girl is sufficient to light a bulb.

Several spectators of the committee are asked to clasp hands and form a line across the stage.
Performer hands the electric bulb to one man at one end of the line. He then takes hold of the hand
of the man at the other end of the line. With his other hand he takes hold of the young lady in the
Electric Chair. Suddenly the entire line of the committee starts to yell twists and turn about so the
long line looks like a big squirming snake - as if a powerful current of electricity was passing through
them all. As the lights are lowered slightly it is seen that the BULB in the hand of the man at the
end is LIGHTED.

All of the foregoing action with the line of the committee causes a riot of laughter with the
audience.

Finally the lights are turned up, the current turned off where it passes through the girl and : .
the committee members let go of each others hands — and are seen to rub their palms together as
if they were still feeling the HEAT. Committee is thanked for its cooperation and excused from the
stage.

Part of the secret of this act is the fact that with the apparatus used in the act the young
lady is perfectly safe although thousands of volts of HIGH FREQUENCY current are of a sort that
are completely harmless to her. The secret is that HIGH FREQUENCY current used as hereafter
described is mild.and harmless — but an ordinary direct or alternating current of much smaller volt-
age (as used in house wiring) would be very dangerous — if used without the apparatus that changes
it into harmless high frequency units.
 -118-
The remainder of the secret consist of VOLTA'S "Routining" and "Presentation" of the act
which greatly amplifies the ENTERTAINMENT and laugh producing qualities of the feature.

The cigarette end is dipped in a solution of salt peter and dried out. This will cause it to
light easily with the spark as described. The tissue paper is magician "Flash Paper" which ignited
easily at a single spark and burns rapidly. Newspaper is treated with salt peter also or has a piece
of FLASH PAPER pinned in the corner. The candle is treated the same way with a pellet of flash
paper qf lighter fluid on the wick.

VOLTA uses -2 or more stooges 'planted1 in the audience who come up on the stage with
the rest of the 'committee1. The one who lights a cigarette in the scary manner and then does a
back fall or sommersault or roll over and then dances about the stage as if still HOT with elec-
tricity is a stooge rehearsed in his party to add comedy to act.

Stooge need not be carried as theatre manager can usually suggest some one who will gladly
•I.
get into the act" for fun or a little pay off.

Spectator at end of line who holds the electric bulb in the last scene is also another.stooge
or the same one if only one is used. The men in center of line are not but man at the other end of
line is either another stooge or the performer himself who takes hold of the girls hand.

Once the line is formed performer walks along the line telling each of the men to HOLD
ON VERY TIGHTLY TO HIS NEIGHBORS HANDS so that they will then not feel the current
passing through them at all. "Don't let go whatever you do — or you will get a shock". Hold
on tight and the current will harmlessly pass right through you - to the man at the end".

This keeps spectators from unclasping hands.

The stooges at the end tell the men near them, "Dance about a lot — and YELL. And we
will all have a lot of FUN. I have done this before and it is a lot of fun. Keep on yelling and
twisting about like I do".

Now when current is turned on through the girl the two stooges at ends bend over and
twists about and yell as if they had cramps, and straighten up again and dance about and yell
and at the same time pull the line of men about all over the stage. This makes it seem very re-
alistic and causes roars of laughter from the audience.

When the lights are turned slightly down it shows up the LIGHTED Bulb in the end of stooges
hand adding realism to the finale.

Lights are turned up the stooges at end of line tell the other committee men to "Rub your
hands together to remove all the electricity stored up in your body - go ahead rub them hard".
This convinces the audience that the committeemen all felt a very hot current running through
their hands.

For smaller presentations a single stooge only may be used and in this case performer takes
the other end of line and touches the girl.

Whenever performer takes hold of girls hand he does so with a QUICK and FIRM grasp and
that way feels no shock. But spectators approaching her cautiously touch her only very lightly and
when they almost touch a tine blue spark jumps across to their finger with a little snap and though
quite harmless, the fact that they are already a bit scared it is enough to make them jump back to
the amusement of the spectators.
 -123-
might otherwise experience.

DAVENPORT'S SWORDS THROUGH LADY

This is a variation of the VANISHING HEAD or HEAD CHEST illusions and the SWORD
CABINET or VANISHING GIRL illusions (see description and drawings for these illusions)
employing the principle of the two HINGED mirrors are swung from the side walls. They meet
at a point in the center in front of the girl and conceal her. The mirrors reflecting the side
walls -r and reflecting also the swords inserted in holes in the two sides. This gives the appear-
ance of the box being empty except for the various swords inserted — and apparently the center
portion of the body of the girl has vanished from sight.

DEMON OF DOOM (Thayer)

I consider this a very unsatisfactory older version of the Spikes Illusion as later ex-
plained by U. F. Grant. The Thayer version used spring steel spikes which were very much
longer than needed to go through the holes in the stock.. .due to fact they had to curve around
the neck and wrists. The Grant SPIKES THRU WRISTS uses soft aluminum spikes of length that
appears logical — and as they do not have to go completely around the wrists and still be of suf-
ficient length to come out at the bottom — and thus can be shorter and of more normal appearance.
In both versions, the spikes are secretly inserted into openings that have steel metal tubes in which
spikes travel so they will detour around the wrists. In the Grant model the spikes drive against a
concealed plate that forces fake spike ends to come out at the bottom of stock. (See drawings).
 -124-

SUPER SIZE AND EXCESSIVE WEIGHT STAGE ILLUSIONS

REQUIRING NUMEROUS ASSISTANT AND SPECIAL STAGE CONDITIONS

Illusions of this class are rather impractical today when there are no large full
evening magic shows.playing legitimate theaters which have available suitable or need-
ed stage traps and special stage conditions at the disposal of performers. Some years
back large stage illusion acts were able to drape the stage entirely with large black
velvet cycloramas and employ stage traps or were permitted to cut them into vaudeville
theater floors. Today this is not permitted as a rule and many stages have cement floors.

Therefore, we deal with these illusions and cover them lightly only as to the
method of working or the operation of the illusion for the sake of completeness. For
the information of the performer who reads this volume. Such illusions as the Ex-
ecutioner's Dream was however worked by Jack Gwynne a few years back in a show
called the Big Top Circus. He converted the executioner and hangman angle into a
vanish of a number of Boy Scouts in celebration of "Boy Scout Week" as follows:
He herded a number of Scouts on the gallows platform, concealed them in a sort of
"tent" arrangement, whereupon the boys one at a time slipped out through the trap,
entered the slide which is built behind the stairways to the gallows and slid down
the secret chute contained therin to the lower platform at the base of the stairs
where they escaped to concealment.

We will deal with these large size illusions just in case anyone may work out
a means of applying them in some manner today or may convert the principles to some
form of modern application. In certain continents like Australia, there are theaters
still available where such, illusions might possibly be presented and again in Latin
America ther are stages which can be employed in the presentation because they have
the necessary traps and stage conditions available.

We will therefore be excused for.including these illusions for the sake of

completeness and comprehensive information of our professional readers, and by us-
ing the catalog illustrations reproduced from former catalogs of magic dealers of the
past who carried the very large type of illusions in the pages of their catalogs. A
brief condensed description of the method employed is given in this volume so that
the reader may have the knowledge available should he find a way to employ the
illusions in modern days. In this case he can still obtain some of the plans orblue-
prints from collectors who may have them on file. No! doubt some collectors will
be willing to have a photostat, made in enlarged size from the plans they have in
their possession, should the reader decide that he needs them. The average photo-
stat would probably run not more than two or three dollars or in.some cases five dol-
ors, which; could include both the drawing and the dealer's typewritten directions
or instructions for performing the illusion. ■ , •
 -125-

THE SEDAN CHAIR

The Sedan Chair is carried in by four assistants. The curtain is pulled open,
revealing the Magician seated in the chair. He arises and walks out of the chair
which is then turned all around by the assistants who show it empty. Performer draws
the curtain in front of the chair, chair is turned around once more and on whipping
back the curtain a young lady steps out, a young lady is seen seated in the same
chair the performer occupied. The girl is concealed in a space under the seat ,but
hidden by a 45 degree angle mirror which makes the space under the seat appear
empty. When curtains are closed the.girl raises the seat which is hinged at the
back, releasing the mirror which is hinged to swing forward and lie flat on the floor.
Girl rises and then folds, down the seat again, seating herself in same position as
the performer. Some Sedan Chairs are made with a double flooring, similar to that
used in the Doll House, which permits the legs to be concealed in the double floor-
ing so the mirror can be dispensed with, using justla cloth draped panel to hide the
girl back of the seat. This permits a smaller size Sedan Chair.

THE LION'S BRIDE ILLUSION

■ This sensational illusion was featured by the Great Lafayette Show and later
by Charles Carter. A playette takes place whereby a captured maiden refuses to
marry a sultan sitting on the throne on the stage and she is therefore condemned to
be thrown into the cage of a lion which is seen walking about in a large cage on
the stage. This grieving girl is carried to the top of the cage where a trap door
is opened and she is lowered into the cage with the lion who is seen raging about
the cage. At the moment the girl is dropped a blinding flash goes off which blinds
the spectators' eyes for a fraction of a second and then they are able to see the
growling lion moving forward. He rises on his hind legs and catches the girl in his
claws, brings his head down over the girl, ready to devour her, wheA suddenly the
lion pulls off his head piece and slides down the lion skin, revealing the he is the
performer inside of a lion's skin. Magically transported therin into the skin of the
lion by a miracle of magic. Usually the performer plays the part of an Oriental
magician who is the fiance of the girl. Hearing of her plight comes on the scene
and announces that he will save her by his magic. The cage part containing the
lion is shot backward on tracks during the momentary blindness of the spectators
and the performers dressed in lion's skin matching that of real lion takes the place
of the live lion. Two models of this have been built, one with a divided cage so
that the girl is place in one half of the cage. The girl is placed in the left half
of the cage and the lion is supposed to enter the left half of the cage when the
separation bars are removed so that he may enter her half and devour his prey. In
one model the bars on the front of the lion's half of the cage were double in this
respect. The front half of the bars facing the audience were half tubing, fitting
over and concealing the steel bars which were the genuine bars which enclosed
the lion ar\d were fastened to the flooring of the cage floor. Thus when the cage
containing the lion was run backwards on its tracks the front of the cage did not
show any change in the cage bars.
 •-126-

THE NEW & IMPROVED SWORD CABINET

The drawings well illustrate the principle and construction of this Illusion
based on the use of the familiar 45 degree mirrors principle. Mirrors hinged to the
rear ofthe:side walls. They are mounted on either thin wood or composition pressed
panels or aluminum sheeting. When swung flat against the side walls the face side .
of mirrors lie against the walls and only the backing material can be seen. When
swung forward to meet in the center as shown the front edges coming together at :a
point meeting behind the vertical Spear inserted from the top — the Spear hides
the mirror's edges. The mirrors reflect the side walls in a way to make the cabinet
seem empty. Girl enters cabinet and raises up the trap in the double floor of cab-
inet and seats herself with her legs crossed Turkish fashion in exactly the same man-
ner as in the Doll House Illusion. She takes hold of two cloth flaps on mirrors and
draws the hinged mirrors together so? their edges meet in front of her, while per-
former is pushing the Spear down through from the top opening in cabinet.

Aluminum "Swords" are inserted as illustrated through slits in sides of cabinet.

Cabinet now opened and nothing but the swords running through cabinet can be seen,
the girl has "vanished". By reversal of process the girl is "brought back".

A MORE DRAMATIC PRESENTATION AND SURPRISE "SHOCK" CLIMAX.

See "VOLTA'S ATOMIZED BATHING BEAUTY "ILLUSION for a novel way

to add to and dramatize the above simple illusion into a "SHOCK" Illusion with a
Surprise Climax. In place of the Spear, a chromed metal angle rod on which two
tubular lights are mounted provides a pretended "Atomizing Light" Invention which
seems to "atomize" the girl completely. A sort of space age pseudo-scientific mod-
ernization in keeping with the modern age.

TORTURE CHAMBER 1

To avoid confusion caused by several different dealers using the same title,
notice that there is also another Illusion using the same name which is different in
effect. This second item is also called "TORTURETTE" by another dealer. Fre-
quently dealers making up the same Illusion change the title so it will appear thq>t
they are not simply making up a well known STANDARD Illusion. Also to make it
appear like their product, or again cause it to be associated with their name as
"Joe Doakes Torture Illusion?'— and thus advertise the name of the dealer.

The Drawings show how the girl placed standing upright in the tall boxlike
cabinet is apparently sliced into parts much like the standard circus "BLADE BOX".

The diagram of the "Blades" and their operation is shown by smaller drawing.
The girl simply draws the FLEXIBLE steel blade free from the framework and bends
the flexible metal down, so it lies harmlessly beside her body. When blade is
withdrawn, the blade is-retuned to the frame work.
 -127-

'THE CALIPH CUTTER"

This is a variation ( by Percy Abbott) of the above effect and he used solid
non-flexible blades that could not be bent downward. Instead the entire wood frame
of the blade was secretly HINGED close to the Handle or Butt end of the blade.
This however was held or kept from bending until ready, by a small turnbuckle
placed on under side of blade handle.

Blades could now be shown rigid and dropped on floor etc. In picking up
the blades that had the hinge feature the performer used his fingers on the under-
side of the handle to push the turnbuckle aside as he inserted the blade into the
slits in the box, so that the entire blade folded downward and lay vertically/flat/
with sides of the box and did not press against the body of girl therein.

On withdrawing each hinged blade the performer simply pushed the turn-
buckle back so it locked the blade in line with the handle, so the blades could
again be shown rigid, banged about and dropped on the floor.

The box in this case only enclosed the upper part of girl's torso—not her
legs. Her head is seen to extend out over the top. After all blades were inserted
the performer could then draw back.the cloth curtains which hid the girls legs and
show that she was still inside the enclosure and had not "ducked" down into the
lower part to escape the blades inserted in upper part.

A loose box is placed over head of girl, box having two slits from top down
to permit one of the blades to be pushed down through it from top to close to bot-
tom. This blade is unfaked and rigid. Girl easily evades the blade as it is first
pushed in one way - then withdrawn and pushed in at right angles, apparently
cutting head into quarters. 1

"FANTASTIC or PHANTASTIC DOORWAY"

This is a very effective Illusion to "Open" a show and was used in that man-
ner by Leon Mandrake. A flat door frame of design like that shown in drawing is
seen standing in center of stage. Assistant enters and opens the door. This reveals
a curtain closing the space in doorway. Girl draws curtain back as illustrated. She
then draws curtain closed, and closes the door. A moment later the door swings
open — The curtain is then whipped aside and the performer walks forth to greet
audience and start his performance. Meanwhile an assistant unbolts the rear brace
supports which held up the doorway and door — and carry it off. This reveals it
is merely a flat bit of scenery with no clue to reveal its clever secret.

The secret is that the performer is first behind the curtain — then as the
Door is opened all the way he moves to a position back of the frame work WHERE
HE IS NOW CONCEALED by the opened DOOR. After curtain is closed he moves
 -128-

over behind the curtain — while assistant then closes the door again. By means of a
thin steel or wand performer pushes against the edge of door which causes it to myster-
iously start to swing open again. He then whips the curtain aside, walks through the
doorway — and greets his audience.

BRIDAL CHAMBER ILLUSION

This is a relic of the old days when the big magic shows had a staff of 30 as-
sistants or so to set up and take down cabinets and move them about, on and off
stage. Featured by Horace Goldin. While he was performing another effect or two
or three, the assistants would set up on a bare platform supporting skeleton tubing
uprights or framework holding cloth curtains. Curtains rear and sides closed. Then
finally the front curtain was drawn while Horace finished off another feat or two.
Walking to the closed cabinet Horace would fire a gun handed to him by a helper
and then would order the front curtain drawn back. The interior of the cabinet was
then revealed as having changed into a bedroom or bridal chamber as illustrated, com-
plete with furniture bed and a Bride in the bed. Horace would enter and pick up
some scarves etc. in the " room" and change their colors. Produce bouquets to place
in vases on dressing table, performing a few effects with objects there. In Europe
where more latitude, is allowable the performer would awaken the "Bride" take her
by the hand and order the assistants to draw the curtain closed, with himself inside
the Bridal Chamber - adding a touch of the risque that brought down the house in
i sophisticated Europe.

THE APPEARING PIANO ( OR MUSICROOM )

This is another version of the same type of Illusion as the Bridal Chamber.
Only in this case a Parlor or Music Room complete with a Piano is produced in
the cabinet. These large ilIlusions are only practical where the time required to
transform the interior of the cabinets can be filled in by performer being occupied
performing other feats, while the assistants are changing over the cabinet and set-
ting up the interior. A good finale for this Illusion would be have the girl at
piano "play" a very beautiful and difficult concert piece — a dramatic selection
of considerable popularity. This would serve to bring excellent applause as she
finished, arose from piano and took bows to acknowledge the ovation of audience.
The "music" of course coming from.an offstage hi fi, girl just pantomining it.

All three of these Illusions are accomplished by the same means,either

HINGED slobs representing the interiors of the rooms folded up from the floor
in the older version or in the more modern and (easier) version, from a closed
rear wall and the closed in wood top. These are really a series of flaps made of
modern pressed woo'd or composition board that is now available — which permits
much faster operation than the old up-from-floor method. The modern decorated
composition boards make it very easy today.
"I
"SPIKES THRU WRISTS"

See illustrations showing construction and refer to "Demon Of Doom" ex-

planation of operation of the two effects, found elsewhere in this volume.
 -129-

"BLACK ART" ILLUSION SHOW

The principle of the Black Art Act or Show is that a completely enclosed
stage space within the stage like a small stage within the large stage -
is formed in the shape shown in rectagular form. All sides are hung
with DULL BLACK CLOTH with no sheen on cloth. So that no light can
be reflected on the surface of cloth. This little; stage is so enclosed on all
sides except the front - also covered over top with black cloth and also with
a black cloth over floor. The performer dresses in white suit and shoes
and his props such as one or two tables, chairs, large vases or other con*,
tainers or boxes are also painted white. Boxes, vases painted black (flat
black) inside. Unknown to spectators one or two unseen assistants are in
the space, but they are unseen because they are dressed in a suit similar
to mechanics 'jumper' suit, or a gown of all dull black cloth - and wear-
ing black gloves and a hood over head with only two slits for eyes. So at-
tired they cannot be seen as their black coverings match the black scenery
or curtain - so long as they remain BEHIND performer and his props and do
not cross in front of them. They cause articles to vanish by quickly whip-
ping a black cloth over any white object, or to appear by whipping black cloth
covering off of white table, chair, props or performer. ROUTINE HERE-
AFTER.
PERFORMANCE. Curtains rise showing bare black draped stage enclosure.
Performer on stage in center, but is concealed from view because black
draped invisible assistant is holding a black cloth in front of him. Suddenly
the black cloth is whipped away by helper and performer "Appears" in WHITE.
He waves a white wand and suddenly a Magicians Table appears (helper pul-
led black cloth away from in front of table). Another table appears. Suddenly
a chair appears floating in air (black cloth whipped away from it) and floats
to the stage. Vases or boxes appear in air and float to rest on table. At rear
of each table, chair, vase or box is screwed a six inch lor^g rod or dowel
of 1" diameter, which extending piece is also covered with BLACK CLOTH.
This serves as a HANDLE which the concealed helper can seize to lift the
object off table or floor and cause it to float in air, turn upside down, etc.
Handle at rear cannot be seen. Vases or boxes have a thin metal lining paint-
ed black, which lining can be removed freely as it is loose fitting. To pre-
vent noise, the lining is covered with cloth so it will not 'talk' when deposited
or lifted in or out of vases or boxes. Each lining has a little extension or
handle at rear so that helper- can easily grasp it and lift lining out or lower
it into vases, etc. ROUTINES: Box shown empty. A pistol is fired or hands
clapped and it becomes filled with rabbits, doves, or candy, etc. Helpers
simply lower the metal tin SHELL lining into the box - and the lining was al-
ready filled with the articles to be produced, rabbits and doves in a black
cloth bag in lining. Liquids poured into one vase, other vase shown empty.
Returning to filled vase it is turned upside down proving liquid has vanished.
Walkingipver to other side of stage performer picks up second vase and'pours
liquid out. A skeleton appears, dances about,
 -130-

his head comes off and floats sway to one side of the stage while
body dances on other. Skeleton painted on wood strips and joint-
ed and has handle extending out the back like the vases. Helper
‘ holds Skull of skeleton by handle in one hand and body portion in
other hand. Keeping them together at first he later separates them
holding one in each hand as far apart as he can and waving them a-
round Or two helpers can be used so legs and head and arms and
body can all separate and float apart then.return to join into a com-
plete skeleton. Girl appears. Her head cut off, carried away, then
returned to body. Body is a dress on a dummy form. Girl all in
black except her head - leans her head over the fake body form :
held by a helper. She walks away to one side helper carries body
form to other - then back again, Many other effects are possible,
changes, transpositions, etc.

Make curtain of black dull finish flannelett or cotton outing in shape

and size shown - or of larger dimensions if desired. For perma-
nent installation in recreation parks etc, in a small theatre making
the supporting frame of wood 3" or 4" wide by I" thick. Brace it and
nail it to floor. Or make it of 3/4 inch or heavier iron pipe screwing
ends into Angle T threaded 3 way connections. Hang box shaped cur-
tains INSIDE FRAME.

Some performers do not use the row of lights on the frame, but just
use round polished 4" or 6" moulding for frame and find this reflects
enough light into spectators eyes to make it impossible for them to
see the black hooded and gowned helpers etc. This metal moulding
can be obtained from Stage Magic Studios or from Burling Hull Studio.

EXTRA BONUS OF ADDED STAGE ILLUSIONS DATA

We decided to add about 50 additional Stage Illusions over tAe amount of
90 Illusions which were promised in our advertising circulars---- due
to the enthusiastic response from Magicians and readers of my 50 pre-
vious professional text books and brochures. They hailed with such terri-
fic interest the fact that at last they could obtain a very extensive cover-
age of the methods of Stage Illusions, that we decided to add extra material
which was originally planned to include only in a NUMBER 2 VOLUME on
the subject.

ADDITIONAL ILLUSTRATIONS

My idea in producing blue print plans of Stage Illusions for "Build it

Yourself Magicians" was for those who wished to construct their own
equipment. Was particularly helpful to magicians who wished to use
their wives or daughters as assistants in their shows. They required
to build equipment larger so it could accomodate a larger size person,
wife or daughter, than provided for in most "professional equipment"
stage illusions. Large professional shows units usually employed "Box
Jumpers", meaning girls specially hired for their small size 4 1/2 to
5 ft. in height, who could fit into small compartments in stage illusions.
 -131-

BOXES OF BUDDHA.

This illusion consists of two boxes with platform mounted on four legs.
The boxes are panelled on all sides but have no tops. The tops are of paper
held on with square metal hoops. Shown in full size detail of boxes. Boxes
are hinged on all sides at bottom with loose pin hinges for packing flat and
are held together at the top with hooks. The large box AA Fig. 1-2-3-4 is
hinged directly to top of platform which forms bottom of box. This top
section of platform E. Fig. 1-2-3-4 is hinged at one side FF. Fig. 1-3 and
has a small section F. Fig. 4 hinged to back side of trap. The side and front
panels of this box are solid, but the back panels are hinged to side rails to
swing in CC. Fig. 2-3. The bottom cross rail on back is cut in center and
swings in with the panels to which it is fastened permanently. Spring hinges
should be used so that panels will return to proper position after the assist-
ant has entered the box through the back panel as will be described in the op-
eration. The smaller box is made the same as the large box except all side
panels are made solid and are hinged to bottom frame. The trapiin bottom
D. Fig. 1-2-3-4 is hinged to side and raises up as the box is dropped into the
larger box. The platform G. Fig. 1-2-3-4 consists of a box like table having a
depth at center of 8 inches and tapering to edges to about 5 inches as shown.
Moulding placed around the edges helps the deception of thinness. Blocks are
screwed to corners to receive the legs which are fastened on with pipe nip-
ples and floor flanges. Castors are fastened on the legs for ease in turning,.
Top and bottom of platform are best if made of 3 ply reinforced as needed
with iron. Back of platform has a hinged trap H. H. Fig. 2-3 which drops
back as shown to allow seat for assistant when box is shown empty. Spring
hinges are best to use with this trap, so that it will return to position. When I.

the weight is removed. Chains or cables are placed at side of trap to sup-
port weight. The illusion can be painted as desired, a careful blending of
colors on the edge of platform reducing the apparent thickness.
I
OPERATION.

The name "BOXES OF BUDDHA" derives its origin from the fact that
the figure of a large Buddha should comprise the main decorative features
on each of the four panels of both boxes. The Illusion consists of shbwing
the large box empty by first letting down the front and side panels, and the
rear .panel is also folded well back which proves full interior quite empty.
Panels are then returned to original position and hooked at corners. Plat-
form is then turned completely around showing the exterior on all sides.
Small box is then shown by opening down of the four sides, then rebuilt and
nested within the larger box on the platform. Paper caps may be placed on by
means of metal hoops, although if desired the paper heads may be dispensed
with in cases -where Balcony or elevated positions of audience is not on an
acute angle.

i BOXES OF BUD'DAH
2.

The girl assumes first position in large box by sitting on rear shelf
>
 -132-

with her feet and legs concealed within the platform,» while her body remains
on the outside at rear of back panel. Therefore, when’, the performer is show-
ing the box empty, and in the act of bending back the rear panel to quite an out-
ward angle, the girl bends her body back at the same time, the panel actually
being forced right down against her, and then back to position of upright and
all panels hooked.

As soon as the four sides are in place the girl changes position by enter-
ing the box through the Ringed doors in the back panel, when the spring hinged
ledge upon which her weight has been resting, returns to normal. After this
the platform is free to be wheeled around while the outside is being shown.

When the smaller box is lowered into the larger the double hinged trap gives
way to allow the entrance of the girls body through the bottom of the box, and
all is ready for the production in a manner to best suit the occasion.

This illusion is recommended as being something quite new and novel,

the principle and working of which will be found highly practical in every
respect.

THE PRINCESS OF BAKHTEN

This illusion consists of the following properties;

A large cabinet or tomb shown A-A Fig. 1-2.
Two sarcqphagus with open fronts shown B-B Fig. 1-2.
Two wire forms shown - C-Fig. 5.
One small stool having a revolving top - D-Fig. 3.
One large plate glass 4'-6" x 7’0" - E-E-Fig. 2-6,
The cabinet A-A Fig. 1-2 can be either made of panels, or frames, hav-
ing cloth stretched over them. The cabinet is best if made to take apart for
packing, which is easily done by using loose pin'hinges at joints. The floor of
cabinet is raised about 18" above stage as this gives a better appearance to cab-
inet. The top of cabinet consists of a frame work covered with cloth. The front
of cabinet should be of massive Egyptian design, painted and stenciled in such
a way as to reduce the apparent width. The back of cabinet has 3 doors - one
at F-Fig. 2 which is placed directly back of sarcophagus, one at G-Fig. 2 Svhich
allows assistant to enter cabinet when making change and one at K-Fig. 2 for
assistant who operates control of lamps.

Curtains H--H-Fig. 2 are placed as shown, opening being allowed for

lamps I-I-Fig. 2 and a large opening P-Fig. 2 for the reflection of sarco-
phagus # 2. All curtains and all of the interior which is seen should be lined
with some dark material, preferably velvet.

A large plate glass - E-E -Fig. 2-6 is bound on three edges with strong
steel frame work, the 4th edge being ground smooth. This steel frame allows
glass to be; pivoted as shown L-L--Fig. 2-6. A small caster or roller M-Fig. 6
is fastened to bottom of frame. This allows glass to be easily swung either out
to position shown, or back against side curtains, when cabinet is entered by per-
former.
 — ■133 —

Rows of lamps with reflectors are placed at I-I-Fig. 2 and at J-J-Fig. 2 .

The lamps at I-I illuminate, sarcophagus #1, while those at J-J illuminates
sarcophagus #2. These lamps are controlled by a special dimmer arrange-
ment N-Fig. 2, so that when lamps illuminating #1 are bright, those at # 2
are dim or entirely out. The two sets of lamps being synchronized exactly
as the illusion depends on the proper lighting entirely.

Two sacrophagus are required - B-B-Fig. 1-2. The two being identi-
cal except #1 has a door in back O--Fig. 2 allowing exchange to be made
through back. These are made of wood having the front open. They are of
a suitable size to receive assistant used. In placing these sarcophagus it is
very important that when #2 is reflected on plate glass, it appears to be in
the exact position of #1/

Two Wire Forms are required - C-Fig. 5, both of them being alike. These
are made of fane piano wire, having all the joints well soldered. They are made
over a wood form which holds wires in position until soldered together. Wood
form is made sectional so that it can be taken out of form when form is com-
pleted. Forms are painted a dull black, and cannot be seen a short distance a-
way. One form is wrapped in mummy wrappings and placed in sarcophagus #2
and is merely used for reflection purposes.

A small stool--D-Fig. 3 having a revolving top is used to place assist-

ant on, when wrapping with mummy wrappings. This stool is placed beside
cabinet as shown in Fig. 4.

Operation: The cabinet is placed in center [of stage near the back, with the
revolving stool to one side. Both wire forrps are wrapped in mummy wrap-
pings, and one is placed in sarcophagus #2,- the other is placed temporarily
back of cabinet near door F.
1
The plate glass door is swung back against side curtains, leaving en-
trance to cabinet clear. Lady assistant enters, and takes place on small
. revolving stool. Performer takes mummy .wrapping, and placing one end -
under her feet, he starts stool revolving, thus winding wrapping around and
up the figure of assistant until he reaches the top of head, where wrappings
are fastened. Assistant should now look exactly like wrapped Wire Forms,
Sarcophagus #1 is now lighted up by another assistant,' who controls lights
by switches at N. Performer now carries assistant wrapped as mummy into
cabinet and places her in sarcophagus.

As performer steps back out of cabinet, assistant who operates the lights,
swings plate glass door away from side curtain to position shown in Fig. 2.
Glass door can be operated by a lever at pivot point or by cord pulls running
over pulleys.
•I I
As quickly as door is brought to position, assistant by special double
switch, lights sarcophagus #2 and turns lights off of #1. This changing of
lights must be done simultaneously so that to the audience no change is ap-
parent. The audience thinks that they still see mummy in sarcophagus #1.
 «134-

When in fact'they see only the reflection of mummy in sarcophagus #2. Another
assistant now opens doors F and O in back of cabinet and sarcophagus #1, and
removes assistant through back, at the same time substituting the wrapped wire
form which has been standing back of cabinet. This can be done unseen by aud-
ience, the reflection on glass stops all view of sarcophagus #1. Immediately
lights are switched back on #1 and off of #2. Assistant is quickly unwrapped
e
and going through door G in back of cabinet, she takes place in front of sarco-
phagus #2. Lights are gradually dimmed on # I and brought up brighter on #2,
this gives the appearance of the ghost-like form of the girl gradually emerging
through mummy wrappings, and as lights are gradually brought back to first
position, that is, lights on #1 bright and #2 off, the figure of girl fades grad-
ually away.

As performer goes to enter cabinet, assistant swings glass door open so

as to allow entrance of performer. Performer now takes wrapped form from
sarcophagus #1 and places it on stool near cabinet. As he starts unwrapping
form, he attaches a very fine wire which has been let down from above, to form.
The wire form is not seen by audience and as soon as unwrapping is finished,
form is pulled up into flies. This allows performer to immediately pass his
arms over stool to prove nothing is there.

THE FIREPLACE ILLUSION

This is a novelty effect for Christmas time or children's shows. A fire-

place as shown in the sketches, covered with red brick paper (obtainable in
gift shops) is constructed of a size to accomodate the person- who is to repre-
sent Santa Claus, or 'any other character, such aS a Halloween witch, or fairy
godmother. The box-like arrangement is made of 3/8" plywood which is then
covered with the brick paper. An inner shell made of tileboard or masonite
which just fits the open space of the fireplace, is constructed and hinged to- 6

gether with heavy bands of mystic tape placed on the outside where they will
not show. Inside surfacescan be painted to represent blackened or brown
bricks. The shell is hung in position by means of hooks and eyes as illustrated,
after the performer is concealed in the seated position shown by the sketches.
While the fireplace should be built large or small to accomodate the size of the
person to be used and produced from the fireplace, a size of 44" wide , 43"
high and 20" deep is suggested by one dealer. Performer shows what he calls
a "magic sheet"1, opens it out on both sides and shakes it in front of the fire-
place. Under cover of this, the concealed assistant exits from the rear of the
open fireplace and starts to walk through the opening in the center whereupon
the performer pulls the sheet away and reveals him. !

SPIKE ILLUSIONS

There are several spike illusions which have been featured in magic cat-
alogs from time to time. They seem to fit certain types of shows, such as
carnivals'^nd sideshows and outdoor exhibitions, and "Spook Shows" or a
"scary" routine. Here is my own NOVEL AND DIFFERENT IDEA. Instead of
using girl in SPOOK SHOWS, the familiar character of a monster, or gorilla,
could be apparently captured and "chloroformed" (with a large piece of cotton
placed over his face) and becomes helpless. Or by means of someone slipping
 -135-

up behind him with a large fake hypodermic syringe (similiar to the grease
guns used to lubricate cars) and giving him a "shot” from the rear when he
is bending over. Leading the "weakened” and staggering creature over to
the stock shown in the illustrations, he could be clamped into the apparatus
and then long spikes which are shown in sketches could be driven through
his wrists or neck. When using a girl in the apparatus, the performer::first
shows the spikes and drops them through the holes in the top so they are seen
to pass through the openings for the wrist and neck and come out appropriate
holes at the bottom of the stock. These are then withdrawn and the person to
be used is placed in the stock which is then fastened firmly. Unknown to aud-
ience, the spikes used are of a soft aluminum. The first time they are inserted
into holes which are slightly toward the front of another set of secret holes
directly behind the : front holes in the top of the stock. There is a metal plate a
with holes in it which can be slid over to accomodate either set of holes. After
person is placed in the stock and locked in position, the performer slides this
metal plate on the top of stock so it is pushed over and blocks out access to
the front holes and exposes only the rear holes just back of genuine holes.
The rear set of holes lead into a curved tubing of met;al bent as shown in the
illustration so that the soft aluminum spikes are diverted and pass around the
wrists of the person. They come against a metal plate built into the stock.
This plate has two points to represent the ends'of the spikes which would come
out of the stock at the bottom and as the spikes are driven into the top of the
stock. The spikes press against the plate causing it to push down and make
the "fake ends" project out of the bottom of the stock. Apparently the spikes ’
have passed through the wrist enclosed in the stock, and the points have come
right down out of the bottom. The spikes must now be pulled out by a special
tool in the form of a large "claw" nail puller and a series of blocks or a block
with a series of steps on it. Then the claw may be rested on the steps of the
block, so that the spikes may be pulled out step by step. The plate at the top
is now slid over so as to conceal the openings to the trick holes and reveal
only the genuine holes^ Fresh spikes should be dropped through these in case
anyone approaches the apparatus too closely at conclusion of the effect.

"GALATEA" OR THE GHOST SHOW ILLUSION

This illusion consists of a room-like cabinet, having a small stage front,

and having stage floor 4 ft. or more from floor, depending on location of aud- 4
ience. The sizes given for cabinet can be varied to suit the space used, but
it will be found that these sizes are as small as is practical with the ordinary-
sized person.

The Cabinet, shown in Fig. 1-2-3 can be made of wood panels, wall board,
or cloth stretched on frame work, as desired, änd Should be made sectional, to
take apart if it is to be moved often. By fastening the sections together with
loose pin hinges, or with bolts it may quickly be taken down. The interior of
cabinet can be painted black, lined with black cloth, (velvet is best) or it can
be lined wifh figured cloth. If figured cloth is used, great care will be nec-
essary to see that the reflected background corresponds with back of cabinet.
I

The front of cabinet A-Fig. 1-2-3 consists of a small procenium arch,

having lamps as shown and having curtains, B-B-Fig. 1-2-3 back of arch ar-
ranged so that they may be closed between shows. The front section of floor
back of arch is left open-C-Fig. 2-3< while the back section D-Fig. 2-3 is
 -136-

made solid. Roller curtain E-Fig. 2-3 is placed as shown and is pulled over
opening in floor, when removing duplicate casket etc. Curtain is operated by
assistant under back section of floor. A large plate of glass F. -Fig. 2-3 is
placed at an angle of 45 degrees and fits between side walls of cabinet, and
from top of procenium arch to point G-Fig. 2-3 on floor.

The floor of stage D-Fig. 2-3 is 4 Ft. from stage floor to bottom of cab-
inet, and can be made as much higher as necessary to keep spectators from
looking into openingin floor. Curtain H-Fig. 2-3 is hung from stage floor to
bottom of cabinet. This forms a space I-Fig. 2-3 for assistant who operates
levers and switches. A subfloor K-Fig. 1-243 is placed asshown allowing
space underneath for lifting and turning mechanism* It is important to keep
this subfloor and back of cabinet equi-distant from plate glass so that reflec-
tion will be perfect. The middle section L-Fig. l-2r3-4 of subfloor is made
to be raised and turned by mechanism shown at M-Fig. 1-2-3-4. This con-
sists of a section of pipe shafting N-Fig. 4 fastened to middle section of
floor L by pipe flange. This pipe shaft slides through socket flange-O which
is bolted to floor. This allows middle section of subfloor to be raised or low-
ered at will by lifting lever P-Fig. 2-3-4. Lifting Lever consists of a long
steel bar bent as shown and pivoted to floor at Q-Fig. 2-3. The end which
' operates the shaft is forked to fit around collar. R-Fig. 4, By pulling end
of lever down the shaft is made to slide up through socket in floor. The turn-
ing motion is operated by a cog-S-Fig. 1-243-4 Which is turned by chain to second
cog T-Fig. 2-3 , operated by hidden assistant in cpmpartment I. The cog at
shaft has a key fitted in, and pipe shaft has a key way cut in one side, this allows
shaft to be turned by cog with out regard to position;

Rows of lamps and reflectors are placed a U-U-Fig. 2-3 and at W-W-
Fig. 1-2-3. Those at U-U illuminate the real, person at back of cabinet, while
those at W-W- illuminate any object placed on subfloor. These lamps are
controlled by a special dimmer arrangement X-Fig. 2-3 so t*hat when lamps
U-Fig. 2-3 illuminating person or object at back of cabinet are bright, those
at W-Fig. 1-2-3 are dim or are entirely out. The two sets of lamps must be
synchronized exactly as the Illusion depends on the proper lighting. Lamps are
operated by assistant hidden in compartment I. A door V-Fig. 2 is located at
side of cabinet so that cabinet may be entered, Dipors are placed in back for
removing articles and making substitutions.

EFFECTS:--

Some of the effects which may be worked with this Illusion are —

Changing person placed in casket at back of cabinet to a skeleton, which

steps out of casket and dances in air, turning cartwheels, etc.

The substitution of one person for another.-

Changing a statue to a living person.

Cabinet first shown empty at command of performer, beautiful girl in-

 -137-

stantly appears in cabinet and dances, turns handspring, etc., and at finish
suddenly disappears.

Person placed in cabinet, beautiful girl suddenly appears and caresses

him, in full view of audience, but without him seeing her.

All kinds of spook effects and spirit writings appear on blackboard and
many, others.

OPERATION

Assistant #1 who operates levers and lights is in position in compartment”

I. Assistant #2 who is dressed in black tights with white skeleton painted on
front takes position in duplicate caskqt on subfloor. A person from audience
(perferable a confederate) is placed in casket at back of cabinet in full view of
audience. Lamps U-U- illuminating interior of cabinet are turned on very
bright. Gradually the lamps at U-U are dimmed and those at W-W are brought
up bright by assistant operating dimmer box X. : As lights at W-W are brought
up skeleton painted on assistant # 2 begins to show apparently the skeleton
showing through the mans clothes in casket at back of cabinet,, but really is
merely the reflection thrown on plate glass. As skeleton blots out the man in
casket; assistant #1 who operates levers, slowly pulls down lifting lever P,
causing assistant dressed as skeleton to be raised up, which gives the ap-
pearance of skeleton stepping out of casket. Skeleton now moves arms and
legs in dance and assistant #1, by means of turning device T can revolve board
on which skeleton is lying, giving the appearance of skeleton turning cartwheels,
etc. A reversing of the processes brings skeleton back to original position,
and by a gradual changing of lights person in casket is seen again. This ex-
ample will explain the many various effects, the principal used being that when 1
lamps at Ü-U are dimmed or out, any person or article on subfloor-when il-
luminated by lamps at W-W completely blot out pqrson in cabinet. This al-
lows substitutions and changes through the back door.

"SPOOKY" AND A REINCARNATION"

Advantages of this type of "BURNING^ ALIVE" Illusion is that it better fits the
conditions of (1) "SPOOK SHOWS" where the present'day stage space (due to the
new GIANT SCREENS used in movie houses) do not permit any cabinets being
rolled off stage to unload a girl from an illusion - nor to secretly "load" per-
former into an illusion behind scenes. (2) The show working school or other
auditoriums (or theatre lobby shows ) for Halloween or "Shock Theatre" pro-
motion for movie houses, where the apparatus must be left on stage in full-view
from opening to closing of action, with no opportunity to remove it. In this
version the girl or person to be Burned Alive can be used in various effects or
Illusions in the act both before and after the presentation of "SPOOKY", be-
cause she is "Reincarnated" brought back to life and can take part in the balance
of act. ( see drawing). Casket for best effect should be on raised legs of metal
tubing about 1 1/2" or 2" diameter attached to under side of floor of casket by
means of metal flanges so that the legs can be removed when taking Illusion a-
part. Drawing show short legs for use if worked in top of table.
 -138-

Entire casket comes apart to transport FLAT and is assembled by means of

PIN HINGES on inner side of all sections to form it into casket.

OPERATION OF ILLUSION: Girl assisted into casket by raising the TOP

while the doors are OPEN and she is seen to take a semi-reclining position
fairly close behind the bars.

Performer closes front DOORS H and H-and secures them with turnbuckles.
Soon as closed, girl moves back to REAR of casket - reaches up and lets
down the secret FLAP-in the TOP of casket (releasing the hooks that have un-
til now held it up flat against the TOP. She stretches out flat against the rear
wall and floor.

Performer opens the small DOOR A in the TOP and lowers a lighted TORCH
through the opening which ignites the naptha with which the ASBESTOS ’’FORM"
has been moistened -- and a nice blaze of flames springs up inside casket.
Performer immediately OPENS THE FRONT SWINGING DOORS H and H and
the audience sees the flames apparently consuming the girl. This continues for
a moment until the girl is apparently consumed and leaving just the "ASHES"
of the "BODY" slightly glowing with a few flames still flickering over it.

Doors H and H are closed if the girl is to be "RE-incarnated". After proper

mystical ceremonies; voodoo music, waving arms and flickering scimitars,
chanting voices, flickering torches ( or flashlights played through gauze
drapes over heads etc. ) or any weird sounds from one of the special sound
track records or tapes that are now obtainable on market for hi fi sets. Ask
your dealer.

For burning liquid to provide flames use cigarette lighter fluid squirting a
few drops along the outer edges of the "ASHES" Form-- which gives a good
quick flame up, and yet burns out very quickly without igniting anything else.
These little cans can be obtained from dime stores ( or supermarket gro-
ceries at an even better price) and provide a very safe way to carry such
liquid. The little expense is justified by safety provided. But you can re-
duce cost by taking down the address of the manufacturer and writing them
asking address of their nearest distributor and then ordering in dozen lots
or more at WHOLESALE prices. You can also use HIGH TEST gasolene such
as AMOCO which does not have any Ethyl in it to harm clothing if spilled. An-
other good type is a mixture of denatured alcohol with 15% to 20% naptha added
to give it COLOR. Alcohol flames; are too colorless for good results. Per-
former can moisten form before hand but it is quite all right to do this AFTER
girl is in casket - by simply squirting the needed amount of lighter fluid into
a fairly good sized can ( painted with gold paint) or plastici jar with a secure
top -- and then using it to sprinkle the liquid on the FORM after girl is inside.
Reason for using a LARGE can or container or vase is to make it appear that
you are apparently pouring in considerable amount of the burning fluid while
actually you only use a couple of teaspoonfuls. Your hand with can lowered
into trap door space in TOP becomes concealed from view and it is not de-
tectable that you use a small amount when you turn the can upside down and
bring it out inverted. Make torch out of a wire coat hanger or curtain rod
(SOLID TYPE) 18" long with a wad of cotton wrapped around one end and then
 -139-
the cotton bound tightly down with strands of thin wire wrapped about the cot-
ton. Moisten with liquid, light it and use for a torch to ignite the Illusion.
: ,r ^ri1- -f - - -.-T ,

VANISHING LADY FROM CHAIR

This Illusion is one of the oldest but it has been given a revival by a very
dramatic variation in presentation by Richiardi Jr. , who has presented it sev-
eral times on the Ed Sullivan Show. A girl placed in a chair is covered with a
very large fairly heavy cloth which shapes over her head, shoulder, and hands
in such a way that she is apparently still in the chair Until.the very last moment
as indicated by the molding of the cloth over head, shoulder, and arms. The
illustration shows the older version where the wire form shaped to represent the
head and shoulders of the girl is fastened with swivel hinges in its place of con-
cealment behind the chair back. Richiardi drapes the cloth over himself first
covering his head and shoulders from the back as he faces the audience. He
then turns around and walks toward the girl extending his right arm so that he
makes a big sweeping motion to cover his assistant seated in the chair. As
he does so, the wire form is brought forward to cover the head of the girl. He
has added a cute feature where the girl keeps talking and gesturing with her
hands in a dramatic Spanish manner which keeps the cloth over her arms in
motion. She says she wants to see the public again. So Richiardi raises the
cloth from the foot up to the hairline of performer who speaks a few more •;
words and waves her hands about in dramatic Latin gestures. He drops the
cloth down again, but her hands are seen to be gesturing under the cloth, whip-
ping the cloth about effectively and up to the last moment. Suddenly the cloth
is whipped away upward and backward and the girl is gone. A trunk which is
on the stage raised on a skeleton metal framework is now brought forward and
opened up and the same girl is apparently produced from Ch^. trunk;

To the performer who wishes to duplicate this, he has a dhoice. Pre-

senting it close to the back curtain, as Richiardi does, with chair almost
touching the curtain. As shown by illustration, the girl releases the hinged
seat of the chair and passes through a trap as in the older version and
closes the hinged seat back into position aided by a spring hinge, before the
girl goes through the floor trap under stage.

To work the other features, bring the cloth up only to the hairline of op-
erator which will not show the wire form that is resting on her head. When
showing the girl and allowing her to speak and gesture for the last time. For
the effect of the hands continuing the gesturing up to the very last moment, you
may employ either of two methods. If worked close to the back curtain, have two :
wooden inserts similar to hands and arms built to fit into the top surface of the
wide arms of the chair. These can be operated by assistant behind the cur-
tain by means of extension dowels running out backward to simulate gesture of the
hands flapping about.

THE RICHIARDI PRESENTATION

Richiardi performs this at a point where the curtain edges meet. This
 -140-

permits an opening to be obtained by separating the edges of the curtain at one

point, which is amply concealed by the very large cloth used. The method is
to have an actual performer reach through the opening from a position behind the
chair , and insert her arms through openings in the chair back covered by little
rubber flaps. She actually makes the gestures with live hands and whipping the
hands away at the very last moment when the cloth is pulled away in an upward
direction.

Another version has been used where the girl originally in the chair passes
through the back of the chair to a position behind it and continues to talk and gest-
ure with her hands up to the last moment and then goes through a trap in the
stage which is located directly behind the large chair.

The appearance of the assistant in the trunk on the raised platform is ac-
complished by having the trunk made in the form of ä "tip-over box" which is
shown empty at beginning of performance. The performer has a choice of us-
ing a double or having the girl get onto the rear platform of the tip-over trunk
from an entrance in the backdrop. Again while bringing in the large cloth,
which is opened up and held up momentarily by performer and assistant, giving
girl a chance to run in behind it and get onto the rear platform of trunk. An-
other choice is to have the original girl under the cloth go through trap and be
switched for a second girl of similar appearance who takes her place in the
seat of the chair. For only part of her face, hands and costume can be seen
when the cloth is raised for the last quick look at the audience.

VOLTA'S ATOMIZED BATHING BEAUTY

This is mechanically similar to the new"Sword Cabinet" containing the.mirror to cause
girl to vanish after various swords have been put in from all directions. Front
doors opened showing the interior to be filled with swords and girl vanished.
That is the basic construction but there are other features and the presentation
and idea is different. No swords are employed and the idea involved several
surprises and bits of comedy. Also a sock comedy finish of a surprise nature.
Referring to illustration, the cabinet is raised on high legs. A girl is intro-
duced who has a bathing cape on. She takes the cape off revealing a bikini type
bathing suit. She hands a large colored scarf to performer who ties it about
one arm "as a means of identification and so that I can have my assistant hold
her arm extended through the top of the cabinet at all times. So that you will
know she is there at all time until the very last moment".

Girl is brought to the illusion, mounts the steps, stands erect in illusion. The
front door is closed which door has a window-shade or blind which is pulled
down in front. Girl slowly sinks down into the illusion into a seated position
while assistant closes down the top of the cabinet. The top is noted to have a
round hole about 10 inches in diameter cut in the top.

Performer’jreturns to the front and announces,. "To prove that the girl has not
yet disappeared, I will have the assistant reach in the top of the cabinet through
the hole in the top lid, take hold of the scarf and draw the young lady's arm into
view through the hole in the top. And hold arm in full view at all times so the
 -141-

audience will know that the live girl is actually there until the very last moment."
Assistant mounts a small ladder at the side of the cabinet, reaches in the top, gets
hold of something which he draws up through the top. It appears to be a red and
white striped material which is apparently the scarf. But is immediately pulled
back again and a "Tug of War" ensues between the boy and girl. They keep pulling
the scarf back and forth through the opening. The girl is heard to be screaming,
UNHEARD BY THE PERFORMER WHO IS TALKING LOUDLY ON THE FRONT
STAGE MICROPHONE TO THE SPECTATORS, EXPLAINING WHAT IS TO TAKE
PLACE. After a moment the assistant succeeds in pulling the red and white
striped thing through the cabinet opening completely -- holding it up. It proves
to be the bathing suit that he has gotten hold of by accident and pulled off the girl
in the cabinet! A bit of by-play takes place where assistant holds up the suit and
leers at it -- then drapes it over himself in mischievous comedy. Next he gets a
thought, points in the opening of the cabinet. He leans over to "peek" into the
hole in the top of the cabinet. Another scream and a terrific sound of a slap is
heard, the assistant ducks back, holding his hand over his eye and stumbles
down off the ladder. He staggers blindly toward frontstage and bumps into Volta.
Volta catches a glimpse of the red and white striped thing only from the corner
of his eye while still facing the audience. He seizes it and while talking to the
audience explains, "My assistant accidentally pulled the scarf off the girl's
arm (he holds 'the scarf' up which audience notices is really bathing suit un-
known to the performer) but you will notice that the young lady's arm is still
extended through the opening in the top of the cabinet. "Performer turns around
and looks at the cabinet for a second or two as if surprised while the audience
continues laughing over the fact that he is really holding the bathing suit in his
hand. Volta turns back, discovers that he really has the bathing suit and says,
"Oh, oh-- how did you do that? Now take this right back and put it back where you
got it from. " Boy goes to take the suit and then hands it back and points to his
eye. "Oh, that's alright, I'll put it back myself." At that point another girl as-
sistant runs forward as Volta starts back to the cabinet and shaking her finger
at Volta, indicating he mustn't do that. Volta hands the bathing suit to the girl
and says, "Alright, but bring on my latest invention - my newjy invented ATOM -
IZING LIGHT. "

A chrome-rod with two long narrow tube-shaped lights is brought on. Volta in-
serts this through the top of the cabinet, securing it into place with a hook, and
plugs in the wire. Throwing the switch a lud siren is heard (from the orchestra
pit or backstage) and a light comes on in the cabinet revealing the shadow of a girl
seated in profile apparently without benefit of bathing suit. Two seconds of this ,
two gunshots are fired by Volta. The shade flies up and the interior of the cabinet
is revealed completely empty except for a pair of gold bathing shoes resting on
the floor of the cabinet with a placard leaning against the atom light. The assistant
brings the gold shoes forward to Volta. He says, "Nothing left, nothing left, but
a pair of golden bathing shoes, size 5 1/2 B. Can anybody use these shoes? The
girl will never need them again. We can lose a lot of girls that way." He hands
the shoes to a girl who comes up from the audience ( stooge, or one of the assist-
ants who hasi;Slipped down into the audience dressed in regular costume) and
Volta accepts the applause. Other assistant brings forward the card or placard
that was left in the cabinet. Volta reads it and then turns it around revealing that
it says, as he quotes, "Oh, I see, Kilroy was here."

The difference in construction of the cabinet is illustrated by a double shade which

 -142-

is pulled down behind the regular shade at the same time and which has the
"cut-out" in black rubberized photographer's cloth cemented on the rear '
shade that represents a silhouette of the girl used in the illusion. When the
curtains are released, the rear curtain flies up first while the light blinks off
and on for a fraction of a second (though this is not actually necessary) and
the other curtain flies up immediately afterwards. ' This is the greatest "sock" ■’
stage illusion comedy effect that we have ever seen presented anywhere, be-
cause it hits the audience with a sudden shock when the bathing suit is re-
vealed.

BUILDING A "TWIN CHESTS OF MYSTERY"

This is probably the best all-around Illusion for the production of one as-
sistant, because it is adaptable to every and all conditions of any type of show,
from ä Night Club to a School Auditorium, Banquet, Floor Show, Television all-
angle shot or Stage.

In constructing the illusion, it is well to make the inner box first, so that
it can accommodate comfortable the size and shape of assistant that you plan
to use, as some girls can fold themselves into smaller space than others when
crouched down to fit into the inner chest. As a suggested size, try 26" from
front to back, 24 1/2" wide and 26" tall.

By making the outer chest to fit conveniently and loosely around this , you
will avoid any possible error in dimensions and allow room for both the shield
and the inner box for easy and convenient operation. This plan will also aid
you construct the hinges in the right position. ! 1 J

To make the inner box easy to lift out, you can cut slits in the lid of the inner
box so that you can fit your left and right hands into these openings and lift the
inner box upward and out of the larger box. Leather straps or loop handles can
also be attached to the sides of the inner box.

Plans are available for constructing this illusion and obtainable from magic
dealers.

AN EXTRA BONUS OF ADDED STAGE ILLUSIONS

As an extra added bonus over the 90 stage illusions offered in the.advertis-

ing of this large "Collection" Volume, we were able to add the plans or explan-
atory data on an added Stage Illusions at the last moment. Some of these are
from the old lines of Thayer blueprints which having passed through various hands,
when the business was transferred from the original company and sold to the late
Mr. William Larsen, Sr. Then again passed on to another individual. They suf-
fered somewhat in the process of transferences. The original tracings on vellum
and tracing jjaper may have become worn or aged with the result that the blue
prints made'from them today are not as sharp or legible as might be desirable. Mr.
Larsen was a busy attorney in criminal law practice and ran a magic magazine also, .
and had limited time to devote to the magic business except as a side-line issue.
When I used to buy the plans from him at wholesale for resale purposes, he wrote
 -143-

to me several times that he was not able to locate certain plans ordered and he
also excused the fact that some of the blueprinting process. Possible this was
the fault of the person or concern which did the "blueprinting" for him.

Rather than omit the plans entirely in such cases, I have included them
and given them the best "reproduction" that was possible under the condition
and quality of the blueprint copies available today.

Fortunately most of the Illusions referred to in the above group (that

are not ideally clear) are of the very large and cumbersome type, requiring
a large number of stage assistants to operate and therefore will probably not
be chosen among those the average performer will select to build for his mod-
dern -day moderate size show, for most shows today operate with limited per-
sonnel. However, should the reader specially need one of these more elaborate
Illusions, I will be glad to assist him in anyway possible. I have friends in our
profession that have very extensive files and collections of Stage Illusion plans,
and have kindly accomodated my friends, customers, and readers, of my text-
books by making for them photostat copies of the desired plans. They have also
generously loaned me some of their plans for reproduction in this volume.
I suggest it would be only fair to offer to pay for any additional cost my friends
are put to for typists labor charges for typing any additional data,
descriptive details, mechanical specifications and dimensions that may be de-
sired by the reader who benefits from the courtesies extended to him.

i
 -144-

AMAZIA

SPECIFICATIONS:

This illusion consists of a cabinet, mounted on casters, a large cone,

a small cone, a large folding box, a small box to match large, and two dolls.

The cabinet, shown in Fig. 1-2-3-4, has paneled! sides and back, the
front being open, except for a sliding curtain. The base or platform consists
of a floor A-Fig. 1-2-3-6, having reinforcing frame work B-Fig. 1-2-6, nail-
ed around floor, so that floor sets about 1-1/4", below top edge of frame work.
Brackets C-C-Fig. 1-2-6 are fastened in the corners of frame as shown, to
receive floor flanges D-D-Fig. 1-2-6. Casters are placed at corners, so
cabinet may be turned around.

The sides and back are paneled, while the front consists of an open
frame. These frames are bolted to base and to each other', or loose pin
hinges may be used, so that cabinet can be packed flat for shipping. The top
E-Fig. l-2r.4-6 consists of a frame, having an ornamental cornice F-Fig.
1-2-6 placed around frame, which fits down and over sides of cabinet.

Two curtains X-X-Fig. 4 - having rings sewed to opposite ends, which

slide over small rods, are placed on top of cabinet. This arrangement allows
curtains to slide back and forth on rods. The edges at center overlap a lit-
tle, while the edges away from center are tacked down solid. Spring curtain
rollers Y-Fig. 1-2-4, one at each side and one at back, are fastened to the
under side of top, so that curtains when pulled down, will mask the folded box
and weights, as well as assistant, standing back of cone.

Cabinet is lined on inside, the same material as the curtains, black

velvet being the best for the purpose. A covering of the same material is
fitted over the large cone, having snap fasten-ers at back. Pi|>e uprights G-G-
Fig. 1-2-3-5-6 are set in corners of cabinet las shown, and extend from flanges
D on brackets C up through holes in floor of cabinet to top, where they are
locked in place by lock nuts H-Fig. 1-2-6.

Sliding platform I-Fig. 1-2-3-5-6 consists of a cross frame of wood, i'.-..

the central section being filled in with triangular blocks as shown in Fig. 3,
and having pipe nipples and flanges J-Fig. 1-2-3-5-6 fastened in ends of cross
frame, so platform will slide on pipe uprights G. Eyebolts K-K-Fig. 1-2-3-
6 are placed in corners of frame, to which steel cables L-L-Fig. 1-2-6
are fastened, and run over pulleys. M-M-Fig. 1-2-4-6, and down through
pulleys on counter weights N-N-Fig. 2-3, and up to eyebolts O-O-Fig. 2-4
in top of cabinet. These counter weights N can be either made of lead, or
of brass tubing having the lower end capped, and filling with either lead shot
or sand, until they will counter balance the weight of sliding platform and girl
to be used in illusion. This platform when down,- fits in depression provided
is base, so'edge will not be seen by audience. When platform is pushed to top,
two spring catches placed at opposite sides in top, lock platform to top.

A large cone P-Fig. 1-2-7 made of metal or fiber - 26" diameter at

 -145-

base and 5 ft. high, sets on sliding platform, which has a ledge that holds in
it place. Cone can be made sectional as shown in Fig. 7 which shows it
partly telescoped, and held together when extended by small bolts at joints. A
short section of stiff wire is fitted in apex of cone, and extends long enough,
so that when cone is resting on base of cabinet this wire will project an inch
or so through top of cabinet.

The small cone is a duplicate of the top section of large cone, but in-
stead of having the wire at top, it has small hole at top, through which wire
on large cone goes, when cones are fitted together. Both large and small
cones are painted white or silver, excepting the top 12" of large cone and the
bottom 2" are painted black.

A large folding box Fig. 8 - made of thin plywood or fiber, is hinged

together as shown so it will fold flat. The ends are of stout cloth or canvas, '
which, when box is extended are stretched tight. To keep box extended, hooks
are placed at central joints in sides that fold.

A door is placed in front side, having hinges and catches as shown.

When not in use this box is folded flat and hung to side wall of cabinet by
small hooks - as shown in Fig. 3. Box can be painted a light color so as to
appear as large as possible.

The small box should look as nearly as possible like the large box,
except it may be made solid, as it need not collapse. A sliding curtain is
provided for the frönt of cabinet and slides on rod - R-Fig. 2-6.

Hanging at one side of the cabinet and back of side curtains is a spec-
ially constructed collapsed box of large size. When the time comes for the
growing cone effect, the golliwog, standing at back of platform first releases
back curtain and two side curtains, allowing them to fly to top. Then he
seizes sliding platform with a hand at either side. As he lifts, the cone ap-
pears through the top of the cabinet, picking up the small one enroute, and
presenting to the audience every appearance of rapid growth.

The Golliwog then develops the big box, and, having placed it in posi-
tion, enters to wait the time for his appearance at the climax. All this des-
cription is in the. rough; the exact.construction of the cabinet, and the exact
operation will become evident gradually from a careful study of the detailed
specifications.

PRESENTATION:

Having drawn back the curtains iin the beginning the magician enters
the cabinet and stands within. He appears to occupy a position well back.
That.is because, standing with legs well apart, he straddles the covered
cone. This attitude becomes natural enough, because he holds his arms, also,
upwards and outwards, his whole body, forming, so to speak, a figure X or
St. Andrew's Cross.

Though he says nothing, this attitude suggests that there is little room
 -146-

for anything bulky in the cabinet. This pose is the affair of a moment. He
steps quickly out, shows, the box and the Pderette dolls, and places the lat-
ter in the former. Then he puts the box in the cabinet and draws shut the
curtains. (The box goes on the actual floor in front of the platform. )

Instantly on the closing of the curtains the. Golliwog assistant gets

busy. Releasing back and side curtains he lets them fly to top. Stripping
the black cover from the cone he throws j it behind him. The magician
meanwhile has been mounting the ladder and displaying the small cone and the
Golliwog doll.

He stalls long enough to give the assistant time for the execution
of the foregoing jobs, and then prepares to cover the Golliwog with the cone.
He places the Golliwog well back of the wire rod projecting through the cur-
tains and then, still holding the doll, places the cone, not over the doll, but
in front of it. At the same time he quietly lays the doll down backwards on
the curtain.

The cone, as a matter of fact, goes over the projecting wire, and in
consequence, is being held just above the apex of the big cone. The assistant
in the cabinet has been waiting for his cue to lift the big cone into the smaller
one. Receiving this .cue from the illusionist, he lifts the platform about 15
inches, (marks on the rear pipes show him how far he rqust go. )

The extreme tip of the small cone has been cut off to leave a small
hole through which the wire atop the large cone may pasg. The performer
presses down the small cone to fit tightly on the big one, Then he leaves i't
sitting apparently on top of the cabinet. He descends.

The assistant prepares now to produce the effept of the growing cone.
He grasps the platform with a hand at the center of eaph side. Hearing the
performer’s command to the cone, he lifts, and runs the platform up, fairly
fast, but not with an actual rush. (It is probable that the platform will need
some simple locking device to hold it to the top bars, So long as the lady re-
mains seated, the counter-weights will hold the platform in place, but it may
be thrown down somewhat, when later she rises.

The assistant now prepares for the climax. He places the small box
at the back of the cabinet, and unhooks the large one. Quickly placing this to
face what will be the opening between the curtains, he enters it; pushing it
open as he goes. Then he fixes the side catches and waits for the end.

If the illusionist possesses another man assistant, that man can climb
the ladder and lift the big cone at finish. In this case the Pierette should be
revealed before the expanded box and Golliwog. That is the stronger climax
really. This procedure, also, gives the golliwog more time for his final op-
erations with the box.
■h -
i - - .
"LA SENSATION" OR VANISHING TRUNK & LADY:

Very complete Working Drawings and Floor Plans show the construc-
tion and operation of this illusion in every detail.
i -147- .

The Trunk is .made, to fold, or collapse into ,the top of the table so that
it lies flush with top. The.table :is.of.the,;propqrtionate depth,shpwn in draw- .
ings which are made to scale. . ... ... ,, .. . ; ■
i

Lady uses steps to get on to table.

Cloth is lowered from flies in a sort,.of.half folded condition as shown-

in Fig.' 6 and contains a false lid between folds. As .it come § down performer .
takes front edge while assistant standing behind takes, hold of back near edge
of fake lid and they guide cloth down over trunk so it covers top. Lady im-
mediately passes thru trap in back of trunk and lifting a section in the cloth
cut like the letter U to let her. pass ( a sort of flap) and turning back the trap
in top pf HOLLOW STEPS ( see Fig. 5) gets inside. She may either pass right
thru a trap in stage, undep steps or .they may be ppshed out of way off stage.
Meanwhile performer is adjusting clpth and attaching chains lowered from abpve,
to the front corners thru slits cut in cloth (really attaching or hooking them to ..
the false lid form under cloth) while assistant BEHIND TRUNK is apparently
adjusting cloth on his side. He really pushes down the SUPPORTING LEVER
“C” ( which kept the pide from folding in before ready) and then reaches thru
and takes hold .of the counters link handle,-“A", on inside of frpnt and pulls it
back,, causing trunk to fold up.. The rollers shown in FIG. 1 allow the lid to,,
slide easy and swing down in front of folded sides,as in FIG. 2. • .....

The chains have been slowly wound so the cloth and supposed trunk
(form under cloth) are being gradually raised and the assistant is lowering the
folded trunk down into table top as shown by dotted lines where it lies EX- ■ , ’
ACTLY FLUSH. The back of trunk is covered with a figured felt,so it matches
the table top exactly. Collapsed trunk lies on rubber rests. !

When performer fires at supposed trunk the twp: forward and one back
chain catches (release catches on end.of chain), are .released and the form
under cloth collapse?., Several forms can be used,used. Some use a padded wool
frame extremely light and release all for corners.i and let droji to floor. We
prefer a square aluminum frame well padded and arranged so it collapses into
a straight line when the .three front corners are released, hanging down straight
with the folds of cloth which hangs from the corner not released. This form ,
is either hung under cloth when lowered) by large rings (like curtain rings) so
that it will slide freely when1 collapsing.. It can also be countersunk into the
folding, trunk and the chains attached really from the top* Rings hinged into
front corners of trunk, but countersunk so they will fold back flush by their
own weight should appear.on front so it will appear to be these to which the
chains are fastened.

The frame cap.be braced by a rod running from one corner to diagonally
opposite corner. ft is secured to the one corner which.is not released and
passes over a pin on the other corner. When hooking the chain to this last
corner lift off pin and lock catch of chain thru both corner of frame and hole
of brace. Then when this corner is released the-brace will be freed at same
time for collapse. The.br^ce gives a more solid.and a safer “trunk form".
 -148-

THE BOUDOIR OF A DANCING GIRL-

This illusion shown in Figures 1-2-3 consists of a large cabinet, having

the front open, and paneled back and sides. Cabinet is mounted on legs, having
casters, so it may be easily turned. Cabinet contains small dressing table,
and chair or bench. Cabinet is made to take apart for packing by using loose
pin hinges.

The bottom on floor--A--Figure--l-2-3-4 is made solid, having a

reinforcing frame work underneath. Legs are screwed to framework using
floor flanges and pipe nipples inserted in top or legs, so they can be taken off.

The top--B--Figure 1-2-4 consists of a framework, having a thin panel

on underside as shown, and having reinforcing cornice--C--Figure 1-2-4 placed
around frame for finish.

The sides and back, D—Figure 1-2-3—4 consists of frame*,, having thin
panels, fastened on the inside, as shown in Figure 4. Openings or windows,
L-- Figure 1-2-3 are left in back and sides as shown, and are covered when
working illusion, by roller curtains —F--Figure 1-2-3.

- The front --G--Figure 1-2-3-4 consists of an open frame which is

covered when working illusion, by roller curtain--H--Figure 1-2-3-4. Cab-
inet is lighted inside by electric lights —I-*- Figure 1-2-3, one light being
placed at back, and two on ceiling near front. Lights are controlled by 3
point switch—J--Figure--l-3-6 which operates so light is on when in position
#2, and front lights are on when in position #3. Wiring diagram for cabinet
is shown in Figure #6.

The table--K--Figure 1-2-3 is triangular in shape; and has mirrors

—L—Figure 1-3-5 fitted between legs as shown. Turned legs ^are luted to bet-
ter hide edges of mirrors. Mirrors have wood backing--M--Figure 5 to
reinforce them. Table is placed aa shown in Fi’-gure 3 which gives the proper
reflection. Any chair or bench will do, as it acts merely as a seit.

The interior of cabinet can be lined with cloth or painted. If figured

cloth is used, care should be taken to see that portion of sides which is reflected in
mirrors under table, is the same as on back.

Floor can be painted or covered as desired, but some design which

will mask line of mirrors in table, will have to be used, Exterior of cabinet
can be painted as desired.

OPERATION

Cabinet is in place on stage, with all curtains up, and with lamp over
dressing tabl'e on. Girl assistant can be seated at table, Making up, or can
enter stage from side. She executes a dance and running to cabinet, she snaps
off light, and draws down back, sides, and last front curtain, which is hooked
over pin provided at floor.
 -149-

Performer steps to cabinet and pushes switch on outside which lights

the back lamp, so shadow of girl is thrown clearly' on front curtain. As she
disrobes, performer grasps curtain, and starts to raise it,. at same time un-
known to audience pushes switch so as to light front lamps and extinguish back’
lamp--which’causes Shadow of girl to instantly vanish.

In the short interval before performer raises curtain, girl quickly takes
crouching position back and under table,- where she is hidden by mirrors.
Performer raises curtains, and seeing no-one there, steps inside, (using care
that his feet and legs are not. reflected in .mirror) and raises curtains over- • ■
window openings. This move proves that no double walls are used, as the aud-
ience can see through cabinet on all sides. By using a duplicate girl, she can
appear coming form.front of house. .

W AL KI NG THROUGH A RIBBON ILLUSION (MECHANICAL)..... ,

This effect consists of a box-like screen, having two doors on the front
and mounted on four legs. The legs are detachable for ease in packing and.I.: i
the bbx’also can be fastened together with bolts and taken apart if desired, .

The upper part of the legs forms corner blocks A-A-Fig. 1-2-3-4 in
the box which are screwed or bolted to sides and back to hold box rigid.• ;One
back block B-Fig. 2-3-4.is morticed out to receive spring roller C-Fig.
A series of small holes are bored in one end of the roller which engage with; Jsi.j
a small lever D.-Fig. 2-3-4 to lock roller until released. . i L
■ . • •• ' • .... • ■ • j;’! -s
The box is made of 3/8" plywood sawed to pattern as shown. The sides,; •_
and back are fastened to legs to form a three sided enclosure, while the front
consists of two doors hinged to the sides as shown, for the assistant to enter.
A small hasp locks doors together. Slots D-D-Fig. 2-3-4 are cut thru sides,
as shown, thru which the ribbon is threaded. Cord.E-Fig. 2-^ is of strong,....
black fishline, having one end ..fastened to spring roller and the other end . •
brought around inside of back to opposite side where a loop in the end of the -
cord is placed over the slot for ribbon.

Lever D is pushed in, locking roller so as to take the strain off of the
cord. Cord is stuck to back corners with a small pellet of conjuror’s • wax. This •
wax is also used to stick the loop around the slot for the ribbon. The ribbon, used
should be about 2" wide and 3 or 4 yards long and should be of a bright color,
preferably contrasting with the color of the screen so that it may be easily seen.

PRESENTATION:

Effect being ready to work, open the front doors permiting a view of
the interior. Show ribbon and thread it thru slots in the sides pulling it back
and forth to show that there is no deception. Now withdraw ribbon and have
assistant tak4 her place in .screen,;and close front doors. Start threading rib--!., -i.
bon thru slot to whicH loop in end of cord is stuck , pushing thq .ribbon thru for>. .
several inches. At the same time while performer pretends to.draw ribbon.;;;
across in front of assistant (but of course back of front doors) he reaches to ..I

back corner and releases the spring roller which immediately draws ribbon
 -150-

around back of assistant and thru slot on opposite side. Quickly disengaging
ribbon from end of cord, the performer pulls it out for several feet. Ends of
ribbon may now be held by spectators, and if hasp on front doors is unlocked,
the assistant may step forward, the ribbon having apparently passed thru her
body. As she steps forward the ribbon should be drawn taut, thus adding to
the. effect. - • . > .. .

THE BURLING '»VOLTA" HULL SAWING RIBBON THRU BODY

Advantage of this method is that there are no mechanical devices that

might get jammed, or accidentally become set off, or get out of order. This
is an optional method; for those who want to vary the usual means operated by
performer as explained in the usual directions. FEATURE is, the performer
OPENS DOOR and there shows that the wide red ribbon runs directly ACROSS
IN FRONT of the GIRL or person in cabinet. Door now closed and spectator
at other end of ribbon from performer is told to get ready to "SAW the beauti-
ful girl in Half", by pulling the ribbon back and forth. He does so continuing
the SAWING movement by alternately pulling and then releasing ribbon so that
other person can pull ribbon toward him - and back and forth. Then performer
asks girl to walk forward and open the cabinet and WALK RIGHT OUT. She
does so, and ribbon is now seen clearly to have "SAWED" thru girl for it is
now BEHIND her ! Ask her how she feels. She answers "All right, but all gone
in middle. "
To operate: Screw the two half cylindrical pieces of wood to inner sides of
cabinet where indicated, just below the large HOLES in cabinet — with the ends
of the bits of wood that have a 1/4." hole UPPERMOST, insert a 1/4" round
stick of BALSA WOOD (obtainable at stores selling parts for making model air-
planes) but whittled down to fit hole neatly. Put ribbon thru holes and show
how it runs thru into cabinet and out other hole. Have spectator take one end
of ribbon while you hold other end and to then "saw" the ribbon back and forth.
Now let it be pulled most of the way through toward spectator^* side. Introduce
girl, turn her about and show that "She is well put together. Not two HALF
GIRLS, and has never before been sawed in two. Place her,, in cabinet, show-
ing ribbon is now in back of her. Close door and say "I will now bring the rib-
bon around in FRONT of her." At the same time HOLD your SHORT end in
right hand ( your body hides this as you stand at side of cabinet) and with left
hand take hold of ribbon CLOSE TO HOLE FARTHEST FROM YOU and draw
it over IN FRONT OF GIRL’S BODY -- and LOOP IT OVER the short stick of
Balso wood. While the loop of ribbon is now across in FRONT of her body —
the ribbon also extends AROUND her waist and BEHIND her and leads out of
the hole on your side. ;

.. Now open the cabinet.door briefly to show, "The ribbon now runs across
IN FRONT of theypun-glady"? just J.eaying the door open for a moment or two.
Enough to let the spectators see the ribbon passing across IN FRONT of the
“girl. Have'her rest handp, on FRO,NT CORNERS of cabinet to hold it firm while
you pull oh 'ribbon ends.

,;i .Now proceed as. described above. As you give a little yank on the rib-
bon while the spectator is. also pulling, it will SNAP the thin Balsa wood stick
off and the portion of ribbon in FRONT of girl will be pulled away,:; then the
 -151-

ribbon will tighten up and be BEHIND girl’s body. Continue the SAWING move-
ment with the spectator for a moment or two as if it were necessary to saw the
ribbon right thru her body. Then tell girl to OPEN CABINET and walk forward
out of the cabinet. ■

SPECIAL EXTRA TIPS: If you use your own girl, you can use round wood dowel
of usual sort in place of a Balsa wood stick. BUT HAVE THE DOWEL SAND-
PAPERED DOWN SO THAT IT IS VERY LOOSE. Now when ready to work
illusion, have your girl simply pull the dowel out of the hole and retain dowel
in her hand.

USING GIRL FROM AUDIENCE

If you use girl from audience, use a fairly well rounded girl who will fill
cabinet pretty well and this will hide the turn of ribbon around her waist. ADUST
RIBBON so that the FRONT LOOP o f ribbon will be just LEVEL with the band
running around her waist and this hides the latter.

To be sure that your Balsa wood stick will snap off easily, whittle it
down a bit or whittle a little groove around it just 1/4" above point where it enters
the hole in the holder.

Tell girl to rest her hands on the front corners of the cabinet and hold
firmly to it so the ribbon will not pull her over, etc. -but this is really to hold
cabinet firmer in place when you pull on ribbon ends to snap off the Balsa wood
stick.

This illusion made a great hit with many Illusionists, including BLACK-
STONE, playing big time and also playing club dates. It is capable of provid-
ing a lot of ENTERTAINMENT and COMEDY in either place. Get a copy of
"PATTER-DEX", "THE INDEX CARD FILE CABINET" System of entertainer's
patter humor. Write up your own line of sparkling, witty, entertaining patter
and talk for your acts. Price $10.00, through Larger Magic Dealers or from
originator Burling Hull, De Land, Florida.

GIANT NEEDLE THROUGH GIRL

Used by Ormonde McGill very effectively. After performing the "suit-

case" (small) version of the SHOOTING BULLET THROUGH GIRL, performer
then took the long steel polished needle ( a flat "needle" of polished flexible steel
about 3/4" to 1 " wide, about 4 ft. long or more ( as this varies) and pushed it
through body of girl. The flexible needle enters into front of a fancy metal belt
encircling girl's waist. It has a flat "tube" inside the belt in semi-circle form.
The "needle" is guided through the secret passage AROUND the body of girl and
out the rear at the waist of girl. Sold by Kanter's Music Shop, Philadelphia, Pa.

SHOT FROM A CANNON INTO NESTED TRUNKS OR TABORETTE

Girl placed in a large representation of an old muzzle loading cannon.

Placed in, feet first, through the mouth of "cannon". Cannon aimed at either
a taborette on stage.over which a cloth drape hangs down or at a trunk that is
 -152-

suspended from ropes over the heads of spectators. Usually ropes are secured
to metal structure of theatre roof or balcony. Girl goes through a trap in the
butt of barrel to inside the “base“ of cannon. Then through a trap in stage and
gets into a small trunk.

Cannon is fired. ( A blank shotgun cartridge in a gun barrel secured to

the inner upper surface of the “cannon“ mouth). Also a bit of flour in a tube in
front of the short gun barrel. The “cannon" is fired by pulling a cord. Cart-
ridge shot blows the flour out making an effective imitation of a lot of explosive
material and smoke. Trunk lowered to stage by block-and-falls pulley. Opened
• it is revealed that a smaller trunk is inside. This trunk is lifted out by putting
a rod through rings in top of inner trunk. It is placed on stage in .a position
directly over a secret trap on stage. A still smaller trunk containing the girl
is now, by means of a trap, loaded up into the No; 2 trunk which is a bottomless
trunk. The assistants are busily engaged in unfastening the four catches and
unlocking the (bottomless) No. 2 trunk. Then this trunk is opened revealing
there is still another smaller or No. 3 trunk inside. When the top of this trunk
is opened the girl shot from cannon is discovered inside the tiny trunk. Appar-
ently proving that she was “shot“ through air into the center of three nested
trunks that have been hanging in full sight all during the show, over heads of
spectators.

Variations of the firing device: One model has a hollow in the upper
portion of the inner mouth of the “cannon“, the wood being hollowed out to pro-
vide space for an electric “flash pan" containing a cup to hold a quarter spoon-
full of old type Flash Powder used by photographers. In the bottom of cup is
an electric screw-in type house fuse. A piece of aluminum foil is laid across
or jammed into the connections of fuse, so when current is turned on the metal
foil will flash or burn setting fire to the flash powder. The electric connections
are connected to a socket into which the fuse is screwed. Wires leading off to
a switch in rear of “cannon" and the cannon is connected to off stage wires of
hall or theatre. Throwing switch causes the flash powder to go off with a satis-
fying flash and billow of smoke from mouth of cannon. ’ The Flash Firing device
is better if brazed to a metal flap hinged to lower inner side of cannon mouth,
sb it can be hinged closed while the girl is being loaded into cannon face up. It
can then be opened by means of a catch on the ramrod when pretending to ram
the girl or charge into cannon. The flash pan being thus upright prevents the
flash powder spilling out of the cup by vibration when wheeling cannon around on
stage. Note the shape of the hollow cannon "carriage" which easily accommo-
dates therein the body of a girl in a crouched or seated position^ after she has
passed through the trap in the BUTT end of cannon, which permits her to des-
cend into the carriage of the cannon.

VOLTA “FAUST“ TABLEAU“ CROSS ILLUSION

Read description from catalogue pages reproduced here. Performer,

costumed as (Faust in the opera of that name,1 is tied to the cross. Cabinet cur-
tains drawn, and in a few minutes curtains are drawn back by assistants dressed
as devils. This reveals fhat a girl dressed as " Marguirita" (or an “angel") is
tied to cross. The cross, bearing girl, is carried out of cabinet where she is
untied and cross is carried off stage. The lower part of cross can revolve.
 -153-

The cords are run thru ring-bolts on the cross. There are ring bolts on the back
of the cross to which a girl is already tied in a similar position but concealed by the —
cross, or in other words, behind it. The ring bolts on the front of cross are with-
out screw "threads" so they can be pulled out, releasing performer. He then turns
the cross around so the girl is to the front. The cross is painted with horizontal
dark blue and black lines which conceal the fact that the cross can swivel, but that
the top fixed to rod running thru cross does not turn when the lower portion of cross
is revolved. This is so that the top of the cross can be seen over the top of cabinet
at all times. The man who is released conceals himself in a space at the back of the
cabinet platform, which being built on the "bellows" principle, lets down at the back
under pressure of his weight, enough to accommodate him when stretched out flat.
Man moves thru trap in rear of cabinet floor.

The cross being carried forward out of cabinet and untied, permits audience
'to see how firmly and fairly she was tied to cross with genuine firm knots, to the
puzzlement of spectators. Cross is made of hollow plywood to reduce the weight
of the large cross.

ARABIAN TENT MYSTERY

This is very similar to the portable type DOLL HOUSE ILLUSION covered
elsewhere and which was published in a magical magazine. I think item was con-
tributed by Blackstone. The walls are painted in the form of a "Tent" instead of a
"House", but the construction and secret method of loading girl in from her place
of concealment behind the Roof portion, are the same. The same, [irawing used for .
the House are explanatory fori both,versions.

CANDY BOX PRODUCTION ILLUSION

As presented by Cole & Company: A box decorated in 4" wide fancy candy
stripes about two inches broad (.on T V it looked like red and silver paper stripes
cemented on box ) and with a giant 24" bow of same material tied on top of box. It
appears like a"Present", (sort of "gift" wrapped box) on small platform with casters.
Run out and spin around showing all sides. Box tipped forward on platform and then
cover raised or opened to show interior empty. Swung back to original position. Top
then opened and girl pops up erect inside box —and brings an immense hoop skirt out
with her chat falls or drapes all over the entire box, covering lit completely. A
beautiful effect. This is ä version of the "Tip Over Production Box}1 but dressed
up so beautifully that it makes a real hit for modern times.

VOLTA CONTINUOUS PRODUCTION T V MYSTERY BOX

Used by Volta to produce a continuous supply of girls for both live and
for T V “fashion shows". For costumers, millinery shows, and on live shows
for bathing beauty parades,beauty contests and stage or outdoor fashion shows.
Permits continuous "loading" of unlimited number of girls, or children, or
fashion models carrying accessories, etc.

Has added features that permit the entire girl model (from head to foot)
to be seen inside box and permitting her to walk or "parade" out of the box, by
walking forward without need to "lift" girl out over the sides of box. Box top in
 -154-

this case is hinged to open to the RIGHT side of box, not hinged to open back-
ward. A catch (or hook and ring eyelet) to hold cover closed is added. The
left side of box is divided into two doors that are hinged so they can open out-
ward. Interior design consist of vertical stripes of dark blue and black to
prevent drawing attention to division of doors. Tipped forward and the inter-
ior shown empty, the box is then tipped back to upright position -AND IMMED-
IATELY SPUN AROUND AGAIN --ending up with the LEFT SIDE of box toward
audience. Now the top or cover is raised and girl pops up erect inside box AND
THE LEFT SIDE DOORS ARE THEN SWUNG OPEN ON THEIR HINGES PERMIT-
TING THE ENTIRE GIRL FROM TOES TO HEAD TO BE SEEN BY AUDIENCE,
whether she is in bathing suit or play togs or evening gown. Girl then walks
out toward audience and parades around the stage or before the T V cameras.
Camera naturally follows girl as she walks about stage. Box "off camera"
is pushed to wings, or behind screen and "loaded" with another girl. Top is
hinged at right side of box to open upward and the left side is divided into two
doors, hinged so they can be swung open at center of side. Secure doors when
closed by running a metal rod through metal rings on outside of doors on left side.

"PALANQUIN" or "JAM BOX" ILLUSION

Two assistants carry out a sort of curtain-draped oblong cabinet as

shown in illustration. There is also a slightly different model on piping legs
33" long with casters on them, which avoids using assistants. The curtains
draped from the sides are drawn closed on front and back. Performer spins
the cabinet about and shows on. all sides. He pulls apart curtains on the front,
which drape back to and at sides as in Illustration. He then walks to the back,
pulls left and right rear curtains open and bends his body so it is projected
partly through the center space and waves his hands about side to side to prove
no mirrors or concealment exist in a rear wall. Closing all curtains, the per-
former again twirls cabinet about and about, while loud stirring music or
Oriental cymbals are played. At sound of shot, the front curtain is pushed open
by a girl's leg which waves about. It is followed by rest of her body. Opened
and closed again. The curtain is again pushed open by a girl^s leg, and a se-
cond girl appears.

The side walls and bottom of cabinet are double. Two girls sit sideways
against the side walls of the cabinet with their legs stretched out and interwoven
with each other in the BOTTOM hollow space. They are covered then by a hing-
ed plywood floor. And by sidewalls that are hinged so that they can be swung up
against the ceiling and fastened there with a turnbuckle, in one type of model. In
cheaper models they are made to be hinged so they can be folded together flat
and laid against the rear wall until the girl has stepped from the ILLUSION. Be-
fore stepping from the Illusion, she can lower them to lie flat on the floor. A
better model that I saw had the flaps hinged to fold back against the rear walls
where they were fastened with a turnbuckle in each case. Stirring music of a
loud character, should be played as there is likely to be a bit of noise when hand-
ling the flaps. The girls and the thickness of the side walls are concealed by the
gathered curtains , which hang over them. At the time when they are drawn to left
and right, they hang in a gathered form. The drawing taken from a catalogue is an
"artist's conception" and like many catalogue illustrations, does not exactly cover
the details. There is a decorative piece about 6" deep along the upper and lower,
front and rear edges, which is attractively painted in Oriental manner along the
front lower edge of cabinet.
 -155-

ILLUSTRATIONS & PLANS ON SEPARATE SHEETS FOR READERS' CONVENIENCE

For two reasons of reader convenience, these drawings and illustrations

are on separate page units. The first; so that where the illusion instructions run
four or five pages, the reader may move the illustration from page to page as he
follows the mechanics of the illusion operation; its secret, construction and hand-
ling. Without the need to turn back and forth constantly, to refer to an illustration
page at the beginning of the article.

The second reasoniis; should the reader desire to construct the illusion,
he may take the separate page of the plans to a photostat concern and have an en-
largement blown up to double size (ormore) in the form of a large photstat from
which to work when constructing illusion. Any further help or information, I will
be happy to supply to the best of my ability to the purchasers of this book. If the
information is lengthy, I will expect the inquirer to defray the cost of the hourly
rate of a typist. My time I will contribute without charge.

ILLEGAL "COPYRIGHT" CLAIMS

A great deal of misunderstanding and confusion results from the fact that
a number of dealers have put the word "copyrighted" on their instruction sheets'
or illusion plans where there does not exist any copyright on the item whatsoever.
For instance; if you see the word "copyrighted" on the last page of an instruction
sheet of three sheets or more, THERE IS NO COPYRIGHT ON THE ARTICLE
AT ALL.

The law states most emphatically that unless the copyright notice appears
in a certain form and in a certain place on any article, your claim to copyright
has become void and useless. The copyright notice must appear on the front or
title page or the back of the title page and must consist of the words "copyrighted"
followed by the year or date of the filing of the copyright claipa and this followed
by the name of the copyright claimant. You will find a number of plans of illusions
which bear just the word "copyrighted", but do not give the date--which means that
the copyright is a false claim and no copyright exists! Some dealers have elim-
inated the copyright date thinking to protect themselves and not inform the public
whether the copyright or the trick is out of date ! In other words, they have tried
to avoid "dating" the item. The minute such an item is published to the public) the
copyright ceases to exist. Others give the word "copyrighted" followed by the date,
but do not have the name of the claimant on the same paragraph--and this claim is
also a phoney.

To obtain a copyright that is legal, you must furnish the copyright office
with an affidavit stating who printed the item and date printing was completed,
with name and address, what concern set the type (with name and address and
date) and what concern made the plates for the illustrations or type scri-pt (with
name and address and date) and what concern bound the item and when it was
bound, with'name and address. You must also state under oath that no copies
have been released to the public prior to date of copyright application and you
must then release or sell or distribute a copy (which the law describes as having
"published" the book) AND ON THE SAME DATE THAT YOU RELEASE THE COPY
 -156-

TO THE PUBLIC YOU MUST FILE YOUR COPYRIGHT APPLICATION BY

MAIL OR IN PERSON. Your postmaster is required to give you a receipt
and mail your book free to the copyright office, if you wish him to do so, in
order to file your copyright application legally.

"COPYRIGHT" FAKERY

A certain dealer who for years sold various typewritten descriptions

of tricks in Mentalism, SELLING THEM IN TYPEWRITTEN FORM for some
years. Later on as the business became more profitable he began to issue the
same tricks in mimeographed or printed form. Still later he began to put the
word "copyrighted" on the same identical material.

"I
 157

FAKED "COPYRIGHT" CLAIMS

There are very few tricks, in fact, less than 1% in a sizable Catalog
of "Mentalism" we have seen that is new or original with the dealer or that
have not been used as "standard" old standbys in the trade for many, many
years -- consisting as they do of familiar "billet switches", Clipboards ,
"Impression" methods by carbon paper, wax impressions, white carbon paper.
And other variations which have been used in the trade for hundreds of years .
A " Mentalism " catalog is just like any other Magic Dealer catalog. Each
consists of familiar " standard tricks ".

In Magic like the Egg Bag, the Linking Rings of hundreds of years
ago, the Dove Pan, the forty year old "20th Century Handkerchief Trick",
the Dying Silk, and various standard "trick packs". Occasionally 2% of a
dealer's catalog may contain one or two ideas which the dzaler himself has
originated. The same thing is true of Mentalism Catalogs. But it would be
remarkable to find even 1% of anything "original", in the way of an "invent-
ion" in a large catalog of Mentalism now on market!

FILING A TRUTHFUL "COPYRIGHT" CLAIM

While it may bring you no financial benefit to file a " Claim " that you
have originated a trick via the Copyright Office -- it may give you some per-
sonal satisfaction to show that you have made an-affidavit that you have orig-
inated^ artrick. Nothing will 'stop7 anyone’-frorrvusihg or some ofthe> MD. A "
Dealers copying and manufacturing the trick, at least that is my experiences ...
in over fifty years in Magic. For everyone of my 141 inventions from my
"SVENGALI " Self-Forcing Deck to my " Visible Appearing " Chemical Slate
Writing. Miracle Floating Light and Comedy Lite -- and my 66 Original
Creations in Hull Art Rubber Magic Skulls, Doves, Fishes, Vegetables,
Breads, Fruits, etc., have been copied away from me ( even my 50£ " MAG-
NET-TIZO ", the invention of a TRANSPARENT Magicians Wax, now badly
copied is a worthless imitation, sold a $2.00), by the Magical Bootleggers",
of a Magic Dealers group.

However, here is the way you can file a "claim" for a Copyright if you
desire to do so. The Copyright office only provides a PLACE where you can G
file a "Claim" that you have originated a certain item. It does not CONFIRM
that your claim is in any way truthful nor does it "GRANT" COPYRIGHT. Unlike
the Patent Office, it does not grant anything, and does not institute any legal
process or procedures to grant you protection. All it does is to give you a rece-
ipt confirming that on a certain date you did file a "claim" in connection with the
matter. From there on you are on your own. If anyone can show that the item .
was in use beforehand or is in the public domain, your claim is worthless. But
here is what'itakes place. Providing you have fulfilled all requirements, affidav- .
its on printing, artwork and binding, and publication dates, and paid your fee,
and included the correct copyright notice, the Copyright office
 -158-

PERMITS you to, FILE'your individual "CLAIM" to a right to the product.

The Copyright Office does not GRANT you; any "right". Nor does
I it CONFIRM any rights or the existance thereof, that you have laid claim to.
It merely accepts your "CLAIM" and provides you a place in which to file
your claim; that you were the first, to have "originated" the item and have
never released it prior to the date of "publication" which you have specified
under oath. The Copyright Office does not conduct any "search" to see if
the same thing has been filed before and it does not in any way confirm or
deny the truthfullness of your claims.

You could file a copyright for the old trick of the "Forcing Pack"
with all 52 cards consisting of the Ace of Spades —- and the copyright of-
fice would accept your fee and your affidavit and file them accordingly! IF
YOU HAVE PRINTED YOUR COPYRIGHT C LAIM NOTICE IN THE PRE-
SCRIBED FORM ON THE FRONT OR TITLE PAGE OF YOUR BROCHURE
OR UPON THE PAGE IMMEDIATELY FOLLOWING THE TITLE PAGE.
That is all it does, AND YOU HAVE TO TAKE IT FROM THERE.

To fight a copyright infringement, you will have to engage a specialist

in copyright and patent law. Not an ordinary attorney. If you go to an ordinary
attorney, he will charge you a fee for his services and refer your case to a
copyright and patent attorney and you will have to pay both attorneys during
the entire course of the legal action. Therefore it is better to go to a copy-
right and patent attorney in the first place. In other words, it is like going
to a chiropractor first and having him refer you to a medical doctor for med-
ical treatment — who then refers you to a surgeon to have your appendix re-
moved. It is better to go to the surgeon in the first place, if you have been
having chronic appendicitis.
The fees for a patent attorney are high because they only conduct a
few cases in their entire career, such cases being usually complicated and
involved. They require a great deal of legal "research" to establish the facts
of "priority". The usual "retainer" fee for an attorney to consider your case
in this line is around $500. 00 to $1, 000. 00, for just hearing and discussing
the possibilities of your case as you tell it to him. The further proceedings are
immensly expensive running into many thousands of dollars in legal fees, even
if the case is "negotiated" without going to court. In the case of a claim
brought thru the court, the fees and legal costs are tremendous and involve
many years of legal and court action, in most cases. Therefore, legal handling
of copyright and patent matters is usually only practical where a commericial
invention involves hundreds of thousands or millions of dollars in royalties or
invention rights.

THERE IS NO WAY TO PROTECT A " TRICK " METHOD

The Copyright and Patent Law did not provide for conjuring tricks at
the time th^t it was passed by Congress. Application for patent can be made
under the clbssification of " a device for the purpose of entertainment and
amusement".,

A copyright does not protect a "trick", its method, its secret, its op-
eration, nor its "principle". I should know, because I filed the first copyright
for a conjuring trick "instructions", in the history of our art, in 1909 -— for
 -159-

the trick known as the ’’Svengali Forcing Pack”. And every one of my 141 in-
ventions contributed to magic (whether copyrighted or not), were stolen from
me within a few months of their introduction. Also my 66 different original
creations in the BURLING HULL ART RUBBER MAGIC —skulls—doves-*
fishes—roast chicken--watermelons--cakes. All 66 of them, cast and molded
right from my design which cost me $100.00 to $125. 00 each, to'have the orig-
inal sculptors model made. They are now made up in poor-grade imitations by
members of the magic dealers organization —and in such poor quality in many
cases that people are still ccomiirgj to me, begging me to let them have a few
of the items that I have left.

Fortunately, all of this was not-too important to me, as I have always

earned my livlihood by performing professionally in over 200 cities here and
abroad and am still so engaged, and operating my own show unit. I enjoy the
creation»' and inventions, and the contribution to the magic fraternity and my
fellow performers'and our leading dealers. The same with the now fifty books
that I have contributed for so many years. • I enjoyed the writing of them, the
contacts they brought to me from readers from all over the world—and the
magicians who called backstage (and were always welcome) in the over 200
cities we have played in here and abroad. We enjoyed the dinners they have
given us and the special meetings called in our honor; in the magical clubs,
the conventions, and the honors, medals and awards that were presented on
such occasions. That is about all that anyone can expect to get from his con-
tribution to magic and his fellow members of our magical fraternities. Any-
one who expects to obtain more, is performing his greatest trick — in FOOL-
ING HIMSELF.

1
 -160-

THE COSTUME TRUNK ILLUSION —IMPROVED TRAY METHOD

To understand the working of this illusion first refer to the illustration

and description in Catalog while reading this explanation.

The trays have loose bottoms which are held from falling thru by lit-
tle hinged supports which swing out of the side wall of the trays to which they
are secured by little pins serving as a pivot for the support. These supports
fold or swing back into little spaces cut for them in the.walls of the trays as
shown by the Blue Print Drawings.

Each tray has four vyooden dowels about the thickness of a lead pencil
and about 3/4“ long protruding from, the lower edge of tray at equally spaced
distance around the edge. These fit into depressions in the upper edge of
the tray beneath it when they are piled one above the other and serve the pur-
pose of keeping the trays locked together evenly when they are stacked.

Bottom tray is secured permanently to platform by screws. The plat-

form is cut away beneath the bottom tray and a piece of strong canvas dyed or
painted black is nailed across thecentire underside of platform as shown in
blue print.

Girl first takes her place in the space between the false bottom of the
lowermost tray and the canvas bottom. The canvas sagging a little under the
weight of the body give a few inches additional space for concealment as shown
in drawings. Owing to the perspective from which the audience views the plat-
form this sagging is not visible to them and in fact the principle is very much
like that of Dida and numerous other illusions using the perspective principle.

The other trays are distributed about with an appearance of careless-

ness as shown in our catalog illustration at the beginning of the illusion. The
costumes in each tray are named and the audience invited to make a selection
which of course if forced by any of the well known methods, of which we re-
commend the changing basket, velvet changing bag, or the' hat fake for ex-
changing slips of paper bearing the names of the different national costumes
for a set of paper slips which all bear the name of the costume the performer
desires to force. The shell of trunk is slipped over the trays after they have
been piled one on top of the other in their proper order and the instant the lid
is closed down girl pushes up the false tray which carries along with it the
false bottoms of the upper trays (the supports folding back into the walls of
trays as the bottoms pass them) and on up into the lid of trunk where they are
held either by means of little spring catches or by pieces of rubber size 1”
by Z“ inlaid in the walls of the lid near its lower edge which serve to hold the
bottom of lower tray by friction.

DETAILS: The underside of the bottom tray which is in the form of an in-
verted tray should have some simple design painted on it and the same de-
sign painted on underside of the trunk lid, so that it will appear the same
before and after the trays have been pushed up into lid. In order to guar-
 -161-

antee full clearance the upper tray bottoms should be slightly smaller than
that of the bottom one. Costumes should be mostly faked and of the thinnest
china silk or silk crepe and georgette as follows; A piece of thin silk tacked
in a gathered form over tray bottom then a PART of costume such as thin
turkish bloomer in one tray, a skirt in another, etc., all of the filmiest mat-
erials and a feW bits of colored silk scattered over to give the appearance of
several costumes of many parts of a costume, this for compactness when
forced up into trunk lid.

" THE MAN WHO WALKS AWAY FROM HIS SHADOW“ ILLUSION

This very celebrated illusion was presented as a feature of several of

the largest magic shows and by Blackstone, and others with excellent success,
also be presented with the same apparatus supplied for the “SHADOW"

Introduce the Illusion by informing people that yoi^r recint trip to

(any country, preferable India or Africa -- but do not use these countries if
you are a strictly local performer -- merely saying that when you were sum-
mering at some place this year, etc.) that the people spoke ofi you as “The
Man Who Walks Away From His Shadow“. That was because on a certain
important performance before--you demonstrated the fact that you could
leave your shadow home any time that you wished to.

But as the matter has caused so much discussion by people who did
not believe the reports, you have decided.as a special feature to demonstrate
the feat again in this eveningls performance.

(1) Open by placing one hand behind the screen, Suddenly'the two hands
are brought out in front--and STILL THE SHADOW OF THE SINGLE HAND RE-
MAINS ON THE SCREEN.
■ (2) Next the same thing is done with the TWO HANDS.
(3) Then step behind the shade so the upper half of your body and head
cast a shadow. — You stand SIDE'-WAYS facing toward the right side of the
stage — and you are seen to SUDDENLY REVERSE so that you are now facing
toward the other side of the stage. Remark, “There is something that would
be very handy for our congressmen who do not know whether to be for or against
projects.' But it would be no good to try on a ONE WAY STREET".

The foregoing is accomplished by standing behind screen facing one

way -- and have the WHITE LIGHT turned on. Then after the screen has ab-
sorbed the white light for 5 to 6 seconds, the RED light is thrown on •— fol-
lowed immediately by the BLOCKED OUT “Green“ space on the slide. --Thus
your shadow remains FIXED on the screen as in the Shadow Conjuring Act —
While you immediately FACE THE OPPOSITE DIRECTION.' Now when the
slide is moved over to the RED or WHITE space — you are seen to IMMED-
IATELY REVERSE.
■I •
(4) Now have a committe of one or more persons come upon the plat-
form and tie your hands together. Use of course one of the standard Trick
Ties. If you do not know any, Burling Hull's book “33ROPE TIPS and CHAIN
RELEASES“ which was the first and most complete work on rope ties and
 -162-

escapes, and one of the most popular of the entire Burling Series of 27 Text
Books on Magic will give you ample material to choose from. It retails for
$1. 00 -- and can be ordered thru the dealer who supplied you with the present
manuscript.

Step behind the screen and have the WHITE LIGHT thrown on. Then
the Red light — and on to the “GREEN“. Quickly releas'e your hands (Hull’s
Handcuff Tie" drops off instantly in 1 second) step out in front -- and look at
your shadow STILL TIED UP. Remark; “.That is the way I manage to get out
once in a while -- when my wife thinks I am ALL TIED UP FOR THE EVEN-
ING. “

(5) Step behind screen. Extend one hand out in front of you as if a- .
bout to SHAKE HANDS WITH YOUR OWN SHADOW. Place hand close against
screen and say “I am pleased to meet you. Your face seems VERY FAMILIAR."

(6) Next stand behind screen with a cigar or cigarette in your mouth
and ask for a light -- then suddenly step out and strike a match to light the
cigerette FOR YOUR OWN SHADOW. KEEP MATCH AWAY FROM SCREEN
AS IT WILL BURN. — SHADOW OF COURSE DISAPPEARS THE MINUTE THE
LIGHT FROM MATCH REFLECTS ON FRONT OF THE SCREEN. A very ef-
fective stunt.

(7) Walk forward and say, “No doubt many of you have decided that you
k
know just how the feat is accomplished. That is, by having a number of cut-
out flaps of slides to represent certain set positions or objects. Now to dis-
prove that theory, I will allow any one from the audience, lady or gentleman,
large or small, fat or tall—with any kind of face—to hand me any object de-
sired--and to also CAST their shadow on the screen showing their own pro-
file—Also that of any personal object they bring up — and still accomplish the
same feat. 1

Seat person or persons in front of screen, but off to either side. Take
object brought up and ask what POSITION they would like to have you hold the
article. Hold it in the way they ask—before going behind the screen—so as
to be sure that you get the way they desire—and ask if the position is correct.
Then say, “Watch", Step behind screen, casting the shadow in the regular man-
ner--Step out in front—and handing the borrowed article back to the lender,
say, “There you see the shadow—AND HERE IS YOUR ARTICLE itself—take it!“

Take a bow here—and wait for a little applause at this point--as this is
the crucial point of the whole thing and convinces finally. Repeat the feat with
another borrowed object—first remarking, “Just.to show that I did not place
the article with the party in the audience, What shall I use THIS time?”

(8) FINALE: You then allow any Person to walk behind the screen-
casting shadow on the screen facing side-ways. They will smilingly do so not
really believing it will work. Then quickly say “I would like to have you step
over here and meet SOMEONE YOU KNOW", and lead him: out front to look
at his own shadow.
 -163-

(9) A STARTLING CLIMAX: Say, "Now my friend you have lost your
shadow. If you were to walkaway now without getting it back you would never
cast a shadow again so long as you live. " Party does not believe you. "You
do not believe it? Well, I assure you IN ALL SERIOUSNESS that there is
MORE IN MAGIC than you have realized» A few minutes ago you would not
have believed I could hold your shadow tight on that screen--would you? But
YOU SAW IT DONE!"

"Now (growing very serious indeed) I am going to prove to you that as

you stand there at present.you can never throw a shadow again. "

HOW YOU DO IT: While you are talking to the party your assistant
throws the WHITE LIGHT on the blank screen. Then just as you lead party
back behind the screenhe THROWS the "GREEN" Slide over. To the startled
amazement of the party, HE CANNOT THROW A SHADOW. Have him move
his hands about over his head so the audience can see he is really directly
behind the screen--but throws no shadow. Look out you do not pick out too
"Scary" an individual or he may become too frightened. After a moment say,
"Now I am going to give you your shadow back again" --switching on the RED
LIGHT lead party off saying, "Look—now your shadow is walking off WITH YOU,
you are all right now. --And in conclusion, may I wish you, and all members
of the audience--that famous blessing of India.-------- MAY YOUR SHADOW NEVER
GROW DIM!" i

The screen used is of cloth treated with luminous paint and mounted
on a window shade roller so it can be rolled up when not in use and for con-
venience in transportation.

The shade THROWS IT'S OWN GREEN LIGHT, and it appears as if

a light is coming thru the shade from the spot at the rear. Remove your arm
and hand and the shadow remains on the shade. To cause it to vanish, throw
slides back to red, then white. Leave it on white a few seconds and this re-
moves impression of shadow from the shade. Then throw over on red until
you are ready to takß next impression. You can use as mapy shadows or sub-
jects as desired, by following the above routine.

Have the spotlight a few feet to the rear of the frame, and audience
to the front of the frame. Pull down shade while red light is on, on the spot.
(Red is used as it does not charge or discharge the shade). Step to one side
of the shade and place arm and hand behind it, right up close to ^he shade so
as to cast a perfect shadow. Assistant pulls slide over to WHITE. Hold arm
and hand perfectly still for a few seconds, as white CHARGES the impression
of the shadow on the shade. Now slide is run over to RED, then apparently,
"green", but this is really the BLOCKED OUT portion. The rear of the
"green" portion has a piece of cardboard pasted over the rear side.

AN UNIQUE VERSION FOR THE SMALLER TRAVELING

. SHOWMAN

To eliminate carrying a sizable frame and floor stand the drawing

shows a novel device we designed to attach to two chairs. The idea was orig-
inally designed to be used with the HULL-LITE Plastic flexible sheeting im-
pregnated with the luminous chemicals (which was formerly put out by my
 -164-

Stage Magic Factory) , which had certain advantages over the cloth screens
formerly used. This luminous material being moulded right in the plastic
sheets gave great luminous values and did not shed its luminous treatment
from the surface as did the cloth screens. However, the cloth type screen
can also be used in this cute set-up.

Hold HAND RIGHT FLAT AGAINST THE SCREEN--touching it only

lightly--AND KEEP IT STILL. The White Light is switched on. HOLD HAND
STILL --ABSOLUTELY. Only 5 to 10 seconds (according to how powerful a
spotlight is used) is required--then switch to RED light.

Count three seconds or less, and then on to "GREEN" (blank) and the
SHADOW is held FIXED on the screen. --For the powerful luminous quality
of the screen gives off a strong GREEN LIGHT -- except where the BLACK
"SHADOW" of your hand (part the light did not reach) shows DEAD BLACK.

You can now take the hand away WHILE THE SHADOW REMAINS
FIXED.

THE DISEMBODIED PRINCESS

There are three variations of this illusion. The construction is rather

complicated in nature requiring much in the way of detailed drawings, so I
feel that it would be impractical to take up so much space in order to include
so many drawings, I will therefore content myself with describing the secret,
the principle on which it is operated and the working of the illusion, and re-
fer the reader to the illustrations from the catalogue. I will add suggested
variations of both apparatus and operation suitable for different uses such as
stage, platform, and side show operations. A girl dressed in special costume
of a princess of the type shown in the catalogue illustrations is required and
the costume plays an important part in the mystery. The girt is fastened in
the illusion in a position shown in the illustrations and the procedure is fol-
lowed per catalogue description which the reader should read over to properly
understand the operation.

The. various doors are closed over each leg and over the middle of
torso and door closed in front of the head. In the head compartment there is
a back which consists of a swivel door or panel. .On this is mounted a false
head (or half-head insome versions ) so that when the panel is revolved the
false head will be brought to the front to represent the head of the girl, after
her real head is withdrawn. The girl is able to withdraw her head and swing
her body backward and take up a position with her body or upper torso and
head behind a rear panel which forms the back of the torso portion of the il-
lusion apparatus. This panel is hinged so it can be swung backward at a 45°
angle by the performer who then leans his body so that he can look thru and
show his body and one arm waving thru the space of where the girls body
seems to have vanished from the center portion of the apparatus (SEE IL-
LUSTRATION IN CATALOGUE SHOWING THIS POSITION). On the back of
this panel are two handles to which girl can hold on and permit her body to be
swung backward at an angle while she is hidden by the rear panel.
 -165-

In operation the procedure covered in catalogue description is followed;

girl placed and clamped in position with metal leg and neck fasteners and so on.
Doors all closed, performer shows two large metal blades and pushes one thru
at the neck portion of apparatus which seems to sever the head from body, and
a second blade is passed thru'atlia position above the knees, or in the sitting
model at a position close to the waist. This provides or takes up sufficient time
along with the fastening of the catches on the various doors to permit the girl to
withdraw her head from the head enclosure portion of apparatus and to revolve
the swivel panel which brings the fake head to the front. Also to move into posi-
tion where her torso is behind the hinged panel of the middle portion and take
hold of the two handles ready to permit the performer to swing the panel back-
ward at an angle after he has opened the doors at head and at middle of the il-
lusion--and also after he has opened the doors in front of the left and right leg
respectively. The rear panel is swung back to a vertical position at rear of
body - portion. The doors are then all closed again. The blades are then
withdrawn from the waist and neck portion of the illusion which permits the
girl to reverse her former procedure and assume the original position with
her head and body as they were originally seen by audience.

Doors can all be opened, girl released from clamps and helped out of
the illusion ready to take her bow and leave the stage. For a simplified vers-
ion to avoid expense of fake head model to closely resemble the girl’s face,
performer can place a black hood over her head and attach it so that it hangs
from top of head portion, stating that he does so to avoid audience seeing the
tortured expression of girl when head is severed from body. Originally it was
an expensive matter to have a head modelled to closely resemble girl. How-
ever, I introduced the idea of using our rubber face masks which represented
a beautiful girl and with one of these which weritover the entire head of the
girl, it solved the problem inexpensively. It was only necessary to use a
• duplicate mask placed over an oval shaped wood block and with some modellers
product called, moulage, placed over it. The rubber mask was then slipped
over the entire thing. The rubber mask pressed into proper s'hape, a perfect
duplicate representation was achieved inexpensively. If the girl left the show,
a girl replacement simply used the same mask. Notice how the decorative
"head-dress" conceals everything, but the face of girl. In one model of this
illusion, false legs "half fronts" are used to swing in front of the girl's legs,
to replace and represent the actual appearance of her legs when she moves
backward in the illusion. The girl wears high roman type leg boots or
gladiator leg shields to make the leg portion easier to represent in the fake legs
shells employed as described. I suggest that anyone desiring to construct
this illusion would do well to purchase a complete set of the large size working
drawings to aid him in building bthe Illusion. If the reader has difficulty in
finding a copy of the plans, I will be glad to assist him in obtaining a set.

GIRL HEAD IN FISHBOWL ILLUSION

This'|s a variation of the familiar illusion where in front of a three

fold screen, stands a table or taboret. The spectators can apparently see
through clear to the back of the screen wall, at the rear, but actually are
looking at two mirrors placed at 45 -degree angle which reflect the sidewalls
of the screen. It gives the appearance that the spectators can see clear
 -166-

through to the rear walls of the screen. Behind this is seated a girl or one
placed in kneeling position on a cushion. Her head extends through an open-
ing in the top of the table or taboret much like the headless girl or halfbody
of girl with no legs, which is also accomplished in the same manner by 45-
degree mirrors. Over the girl's head has been placed a large-sized fish-
bowl which has a collar running from top to bottom, made of clear plastic.
A hole is cut in the bottom of the glass bowl to exactly correspond to the
tube of plastic and the tube of plastic is cemented to the edges of the bowl
at the bottom. The upper end of the tube is cemented to the fishbowl at the
top, all but one little place where a funnel can be inserted in the rear of the
bowl to fill it with water. This arrangement is placed over the head of the
girl and apparently the girl's head is in a bowl filled with water. A few gold-
fish and bits of imitation seaweed are included in the water to give an appear-
ance of a goldfish bowl. Three lights are then placed aroundIthe the screen
at equal distances. One in back and two at the sides wh’i'ch reflect the lights
on the mirror and give the effect that one light is placed directly behind the
girl and can be seen through the taboret. This variation is a suggestion by
U.S. Grant and he adds that it would be a good idea to place the screen and the
lights on a movable platform that can be rolled into position so that it can be
turned around'and shown at different angles. Then it can be draped and cov-
ered for the next show while the girl exits to appear in another illusion. I've
never seen one of these constructed, but I imagine with proper labor and a
sufficiently large bowl with an expert cutting job, and cementing of the plastic
in watertight manner, it could be very well performed. Another version
might be easier to construct by getting a couple of large transparent cake covers,
cementing them together to form the bowl which might be a lot easier than
making up one with glass and plastic or finding the right sized glassbowl.

TEA CHEST ILLUSION

Performer introduces large chest resting on platform. Lady assistant

at this point is hidden inside of chest. Performer now turns platform and
chest completely around, and just before performer opens front and lid of
chest, assistant opens the two back traps inward and drops, down the shelf
support, which automatically opens the' two back traps. Assistant creeps
through opening, and takes position shown in Fig. , allowing inside traps to
close. Performer now :opens lid and front to show chest empty. . Front is
closed and hooked in place. At this moment the four small tea chests, having
the top compartment of each filled with tea, are brought in. Performer now
opens the front panel of chest so that audience may see the tea being poured
into chest. As performer opens panel, he secretly also opens small metal i.
trap in back of top rail which makes a trough like opening, so tea can be
poured between glass. Small chests are passed to performer, who opens lid
and pours tea into opening formed by trap. Audience can see Tea is grad-
ually filling ’.chest. As performer finishes emptying tea from small chest,
he brings chest back to an upright position, at same time releasing catch at
back, which.jreleases false bottom, and allows it.to drop down and catch.
Small chests'are turned to audience to show empty.

The amount of tea in small chests can be regulated to just fill the
 -167-
space between glass, but if a small amount drops into large chest it will not
be noticed. As performer finishes pouring the last chest, he closes the metal
trap at top rail. As performer closes front panel and lid, assistant on back, comes
through traps in back, at same time raising shelf which also allows back out-
side traps to close. Chest is turned around, front and lid opened, and assistant
steps out.

The four small tea chests-details of which are shown in Fig. can be
made of thin 3-ply wood, having lid hinged as shown. About 2" down from
top a thin false bottom is hinged to front and is held up in position by small
spring catch at back. When this catch is released, false bottom drops down
and is locked to front by small catch on bottom of box.

The large chest and four small chests are painted to represent Chinese
tea chests. The design and coloring should be painted in such a way as to hide
all traps. The interior of chest can be painted or covered with cloth of a suit-
able design.

IMPROVED SAWING A WOMAN IN TWO (THAYER)

All sizes are shown in the drawing and same are as nearly correct
as possible, being obtained by actual test. Performers desiring to build
this effect will of course, be governed to some extent by the size of the lady
who is to work in the illusion. However, we believe that if these accompan-
ing sizes are followed, they will be found to fit the average case very nicely.-
The only change we might suggest is that the height of the box might possibly
be reduced an inch or two, but not so much that the girl will have difficulty
in quickly assuming her peculiar position.

The box is composed of two sections having a hinged trap, A Fig. 1-

3-6-7, hinged to bottom of box which folds down over artificial legs hiding
them from sight, when box is first shown. This trap in detail, Fig. 6 is
made of 3 - plywood for strength having a small panel B Fig. 6 hinged to
top to cover artificial feet when down. Panel is held solid wheA either up
or down when plunger catches C, Fig. 6 which are operated by turn button D.
Fig. 6 . Panel is pulled up by means of elastic cord F.Fig. I when released,
the assistant in box locking it in place by means of turn button H. Fig. 1 & 3.

Bands of hoop steel BB Fig; 1-2-3-7, about 2" wide, are bent around
center ends of each section of box, both inside and out and riveted securely on
allowing about half their width, to project past ends of sections to form slot
for center insert pieces C. Fig. 1-3-7. Top and front doors DD, Fig. 1-2-3-7
have bands riveted to center ends to form slots for insert pieces to line up
with balance of box.

The space between sections of box is filled in with blocks or insert

panels, C. Fig. 1-3-7 about 3" long, which are cut out to the widths re-
quired to match the different parts of box and doors. These panels are in-
serted in grodyes formed by iron bands and screwed to them as shown Fig. 7.
This forms the completed box, the insert panels being sawed in two each
performance, the saw following between the bands, it being necessary to in-
sert a new set of boards after each show. A supply of these may be car-
ried along, or may be obtained from any lumber mill at small cost. Sheet
iron bands E. Fig. 1-2-3-7, are bent around corners to strengthen and stif-
fen box, they also form slot for end stocks to slide in, Fig. 7.
 -168-

. . The doors DD Fig. 1-2-3-7 are hinged as shown, G. Fig. 1-2-3 and are
locked or fastened with window fasteners or catches as these lock doors
securely and hold box rigid at same time. The stocks K. Fig. 1-2-3-4-7 are
slid in from top of box, a groove being formed by metal corner and stop as
shown, Fig. 7. The cleats are screwed on to strengthen and have hasps screwed
on to lock stocks in place. The head stock has holes cut for the neck and two
small holes just large enough for hands to slip through easily. Handles are prov-
ided for lifting stocks out. The stocks for feet are made the same except
a portion swings in on hinges to allow assistant to draw feet into box, and also
to allow artificial legs to be drawn out.

The artificial legs LL Fig. 1-2-3-5, are made of papier-mache and

are mounted on a sliding board, M. Fig. 1-2 -305 with hinges as shown. Fig.
5 which allows them to be turned over sideways as shown, Fig. 1-2-3 so as to
be concealed under trap, the elastic cords CC Fig. 5 pulling them up when •
trap is released. They are pivoted to hinges so that in drawing them out of
box, they can be lifted over end piece and dropped down in a natural position.
These are, of course, supplied with a duplicate type of shoes and stockings
as worn by the lady. The trestles are shown in detail and no description is
necessary. The sections of box are each fastened to trestles by means of'
bolts and thumb nuts below-see NN Fig. 1-3.

The wood used in construction of box should be soft or white pine

dressed to thinness, and glued up to proper width. The center insert boards
can be cut to length from the same material as used for the sides of box
proper. Trestles can be finished natural color, but box can be stained in
dark brown both inside and out, and the bands painted black. •

This will give a decided classy appearance and also offers less
trouble in matching the box with extra insert panels as used from time to
time. It is suggested that the best effect will be obtained if the box is painted
entirely black on the inside, which also tends to mask the slight angle of the
folded down partition as it rests over artificial legs concealing them from
view. In addition to the dark stain which may be applied to the outside of the
box additional decorative features may, of course be carried out to any de-
sired extent.

WORKING AND PRESENTATION

At beginning of performance box sits on stage sideways to audience

with end "stock" panels in place or lying loosely on top of box. After intro-
ductory remarks both doors of box are opened so that a clear view may be
had inside and which to all appearance is merely a shell resting upon two
trestles. After this the lady is introduced and it will also be necessary to
have one or two assistants in order to facilitate the smooth and easy handling
of the illusion.

Lady is apparently hypnotized and, as she falls backward in a sup-

posed cataleptic state, she assumes a very rigid position, and she is gently
lowered in the box by performer and one assistant. Thus the audience is
permitted to see that lady is fairly and actually placed in box, her head
 -169-

protruding from one end and her feet from the other. Both doors to box are
then closed after which the box is then turned slightly feet forward toward
the audience and the "stock" panel slid down into place and locked. This
panel contains the extra folding section which works inward on hinges, and
lady can draw her feet back inside the box at desired time. After this panel
is locked in place, box is then turned around with ladies head facing audience
and this stock panel locked also. During this time, or while box is being
turned with feet to rear, one of the assistants reaches in and releases turn
button so that when lady draws her feet back and assumes her bent up position
inside box at one end, the center panel automatically comes up into position
and the lady can easily grasp the turn button after she has taken the .proper
position, which locks firmly in place. Assistant at the same time also
draws out the dummy feet so that when box is once more turned sideways,
to audience, everything appears all fair and above board.

'’I